People Figurative Drawings and Watercolors

Contemporary figurative ink and crayons on paper painting by Polish artist living in Belgium Hanna Ilczyszyn. Artwork depicts a girl with baloon over her face. Drawing is mostly in b...

Artist: TARKAY, ITZCHAK Title: "SUNNY DAY" Size: 15 X 22 INCHES Medium: WATERCOLOR ON FRANCH ARCHES PAPER Edition: ORIGINAL Description: Hand signed by the artist The artwork is in e...

"Memories" Original art, signed 100x70cm / 30x27in, ink, graphite, tempera on paper, large size, shipped rolled in a tube. The drawing has 2 wooden pieces attached on the back, up an...

Early in the artist's career most likely for Vogue Magazine. Signed lower left. Helen Dryden (1882–1972) was an American artist and successful industrial designer in the 1920s and 1...

"Waiting" (2023) by Bunyod Suvonov is original handmade drawing made with charcoal and graphite on toned paper. This piece depicts a portrait of a woman with long flowing hair laying...

At the Pool - Mid Century Illustration in Watercolor and India Ink on Paper Lovely watercolor of a sunny day at a public pool by an unknown artist (20th Century). People are swimmin...

To The Bathroom is a Colored lithograph realized on japan paper by Jean Cocteau (1889 -1963) in 1930 ca. French draftsman, poet, essayist, playwright, librettist, film director. ...

English School, 18th century Pen and black ink with gray wash on cream laid paper, 9 1/4 x 5 inches (238 x132 mm). 1/4 inch repaired loss, top center, to the left of the figure’s h...

Mother and Child is an artwork realized by an unknown artist in 1962. Black Marker Pen on Cardboard 27.5 x 22.5 cm ; 60 55 cm with frame. Unreadable signature in the lower part. ...

This beautiful Henri Matisse Drawing 'Femme souriante'' was conceived in July of 1942. It is in excellent condition, signed and dated 'H. Matisse...

The Pin-Up of ravishing young beauties in mid-century America was a widely popular art form. The assumption that Pin-Up art was the exclusive domain of men is a misnomer. Female illu...

Original pencil and crayon drawing on paper. Hand signed and dated on front by the artist. Visible image size 25.6 x 19.7 in. Frame size approx 32.25 x 27 in. Artwork is in excellen...

“Three Women” is an early work of Artist F. John Sierra whose career spans over four decades. He has produced images of the people, lifestyles and challeng...

A late 20th century watercolour, gouache and acrylic on paper by British artist Derek Carruthers. Signed to the bottom right and dated 1985 and titled, 'Godot' to the reverse. A charming and slightly satirical painting of thousand year old figures which have been humanised. The Egyptian basalt figures are looking around the space clearly waiting for something or someone (hence the title taken from the play, 'Waiting for Godot' in which someone is expected to arrive but never does). The African tribal figures...

Alex (Cuban, b.1949). Indigenous Mexican Woman, 1982. Pastel and charcoal on wove paper, sheet measures 23 x 33 inches. 31.5 x 41 inches framed. Excellen...

'The Parade of Fairground Wrestlers', India ink on art paper, Modern French School (early 1900s). Traveling shows often held promotional events before opening in local areas to generate enthusiasm for the spectacle. This is an intriguing depiction of the various acts on stage strutting their stuff before an audience of potential customers. On the platform, fairground wrestlers mix with clowns, dancers, a percussionist in bolero hat...

Lovers is a modern artwork realized in the Mid-20th Century. Charcoal drawings. Good conditions.

Title: Mid Century French Elegant Ink Drawing of a Riverside Scene with a Barge Artist: Josine Vignon (French 1922-2022) Medium: Ink on paper Size: 7.25 (height) x 9.75 (width) S...

The artist has covered New York collections for over 16 years and has interviewed, as a journalist, several fashion designers and personalities for different publications. He loves t...

French Landscape by Bernard Labbe (French mid 20th century) original watercolour on artist paper, unframed size: 11.75 x 8.25 inches condition: very good and ready to be enjoyed. p...

Original Fashion Design Illustration by Roz Jennings, British watercolor and ink on card, unframed size: 12 x 8.25 inches condition: very good A beautifully colorful and characterfu...

Frank Nelson Wilcox (American, 1887-1964) The Entertainment, c. 1955 Watercolor on paper Signed lower right 20 x 30 inches Exhibited: 1955 May Show, Cleveland Museum of Art "The first district schools were log houses...

A detailed miniature watercolour study depicting figures enjoying a street performer. Possibly Turkish or Middle Eastern. Well presented in an ornate gilt-effect frame. Signed indist...

A chalk and crayon study for a scuplture by French female artist Marie-Josèphe Bourron. Presented in modern frame with mount under glass. Though not signed the drawing was acquired d...

Homme assis et personnage is a pencil drawing realized by Alberto Giacometti on a page of Louis Guilloux's "La merveille", published in "Les Lettres Nouvelles", n°7, septembre 1953, p. 779. Giacometti sketched a male portrait in his typical style. The man is in profile and on the right side of the page there is a small study of a standing figure. Following Fondation Giacometti, it was realized by the author on September 1953. As James Lord...

An early 1940s fashion study featuring women's hats in pink tobes. Provenance: Cornelia Steckl-Jurin, Founder of the Fashion Department at the School of the Art Institute of Chicago...

Reginald Marsh "Brooklyn Bridge" NYC Modernism WPA Mid-Century Watercolor Modern Reginald Marsh (American, 1898-1954) Brooklyn Bridge, 1940, Signed and dated Reginald Marsh May 1940 (lr), Watercolor over traces of pencil on paper , 15 x 22 inches sight. Reginald Marsh was born in Paris, France in 1898, the child of artist parents. He was born over a small cafe on Paris' Left Bank. He was brought to the United States in 1900 and was drawing before he was three. He studied art at Yale University and the Art Students League, during which time he worked primarily as an illustrator for New York newspapers and magazines. After studying in Paris in 1925 and 1926, he turned seriously to painting. In 1929 he was introduced to the egg-tempera medium, which he used extensively the rest of his life. Marsh's gusto for painting the bottom crust of society contrasted curiously with his background. His parents, both well-known artists, were steeped in academic traditions. He attended Lawrenceville Academy and Yale; perhaps this elite background made it possible to paint the earthy people he did with a journalist's objectivity. An admirer of Rubens and Delacroix, he disliked modernist art; indeed, his lifelong preoccupation was with people - enjoying themselves at beaches, at amusement parks, or on crowded city streets. Marsh was a second-generation Ash Can School painter and printmaker, best known as an urban regionalist. He spent his days sketching in small notebooks...

from the Padoli Monotypes III

Provenance Grand Central Art Galleries, New York; Samuel B. and Marion W. Lawrence Collection; Christie's, Important American Paintings, Drawings, and Sculpture, November 29, 2007, l...

Gloria Dudfield Driver with Hard Hat 1960s Gouache and Oil Pastel on Paper 27"x36" unframed Gloria (Fischer) Dudfield July 12, 1922 – May 27, 2015 Came from...

signed "E.JB." at lower right 21 7/8 x 17 inches including frame

Siergiej Timochow, a Belorussian artist, born in 1960. He studied at an art school in Minsk in 1979 before continuing to study at the Fine Arts Academy in Belarus. His acrylic and ...

Louis Charles Auguste Couder (1789-1873) Portrait of a young man signed on the right border Pastel on paper 28.5 x 21 cm In good condition In a modern frame : 48 x 40.5 cm Augu...

Pencil, coloured pencil and chalk on paper, titled (lower left), signed (lower right), 31cm x 46cm, (51cm x 68cm framed). John Koch was an American painter and teacher, and an impo...

Wheeler Williams (American, 1897-1972) Untitled Study, 1942 Pencil on paper 8 3/4 x 11 3/4 in. Signed lower right: Wheeler Williams, 1942 A native of Chicago, Wheeler Williams is known for his allegorical, narrative work including "Tablets to Pioneers" on the Michigan Avenue bridge in Chicago, and "Settlers of the Seaboard" in Fairmount Park in Philadelphia. He graduated with honors from Yale University in 1919 and earned a Master of Architecture degree from Harvard in 1922. He studied at the Art Institute of Chicago with sculptor Albin Polasek...

Stamped, verso, with certification of authenticity for Janet Ament De La Roche (American, 1916-2000) and painted circa 1965. Winner of the Prix Othon Friesz, Janet Ament studied at the Chouinard Art Institute, the Los Angeles Art Center, and at the Otis Art Institute. After World War II, she traveled abroad and continued her studies first with André L’Hote at the Académie de la Grande Chaumière (Paris) and, subsequently, at the Accademia di Belle Arte (Rome) and the Academie des Belles Artes de San Jorge (Barcelona). Ament exhibited internationally with success, including at The Salon d'Automne (1954), The Salon Des Artes Decoratifs (1955), the Museum of Modern Art, Paris (1955), the Gallier Charpentier (1955), the San Francisco Museum of Art and the Los Angeles County Museum of Art. A long-time member of the Carmel Art Association, she is listed in all relevant art reference works. Reference: Art & Artists: Carmel – Monterey...

Fernand de Launay (1838-1904) Portrait of a child, probably the daughter of the artist Lead pencil on paper Signed and dated "4 septembre 1890" on the lower left 27 x 21 cm In quite ...

Camilo, 2014 by Celso Castro Pencil, Crayon on paper Image size: 39.2 H in. x 28 in. W Unframed ____________ Undefined by medium, Celso Castro’s works each carry the presence of th...

Circle of Erte, Romain de Tirtoff (Russian / French 1892 – 1990) A dress design for Estelle Pencil, ink and watercolour on paper Inscribed ‘Estelle’ (upper left) with other notations...

Portrait of the young thinker is an artwork, charcoal drawing on paper, realized by the French Artist Albert Decaris. It is not signed nor dated.. The artist represents a portrait...

Stone and Press Gallery is excited to offer several works in celebration of the LGBTQ community. This is a drawing from the artist's sketchbooks. This pencil drawing shows a nude male in repose, The drawing is dated November 30 '36 (1936). Clearly the works are authentic and this sketch is signed "Jackson Lee Nesbitt...

Medium: Pencil, Charcoal and Orange Wash on Paper Signature: Signed "O'Neill" Upper Left Sight Size 24.00" x 19.50", Framed 35.00" x 29.00" Illustration for the poem "Baby's First Christmas" by Margaret G. Hayes, published in Harper's Bazar, December 1910. ​​​​​​​The artwork is also reproduced within Walt Reed's The Illustrator in America, 1860-2000 (Society of Illustrators, 2001) on page 154. Exhibited: Brandywine River...

Henry Woon Charcoal Female Nude 2 c. 1950's Charcoal on Strathmore Charcoal Paper 25"x19 1/2"Unframed Signed in ink H Woon lower right His large portfolio of charcoal drawings was ...

Artodyssey "Julita Malinowska's paintings belong to those, which once seen - are never forgotten. The open spaces, sometimes cool and bright, at other times heavily saturated with co...

Date: 1921 Medium: Pastel on Paper Dimensions: 28.00" x 21.00" Signature: Signed Lower Right Satuday Evening Post Cover, November 12, 1921

Edouard Detaille (1848-1912) A carnival scene 21 x 16.5 cm Watercolor and brown ink on paper Signed lower right Period frame : 35 x 30 cm (lacks in...

This is a hand drawn original artwork on heavyweight paper framed in a flat black frame .

Wonderfully provocative sketch drawing of a gathering of men and women in pencil by outsider artist Mylo Quam (American, 1941-1996). Signed lower right. Presented in giltwood frame with black mat under glass. Image size: 8.25"H x 10.50"W. A long-time Woodstock area resident, Mylo Quam was a self-taught painter and draughtsman whose provocative figural work has been compared to Renaissance painters Sandro Botticelli and Hieronymous Bosch, as well as to twentieth-century artists Egon Schiele and Gustav Klimt. Quam was an avid reader who derived inspiration from such varied arenas as Shakespeare, the occult, the Bible, Eastern and Western mythology, politics, and popular culture. "I look at everything," the artist was quoted as saying in 1990. "I read the comic pages. Anything visual. There's very little I don't think is a subject for art." Born in North Dakota, Quam studied Greek language and other classical subjects at Brandeis, Boston, and New York Universities, and worked as a translator of Greek plays while just 17 years old. After a successful career as an actor that included numerous Off-Broadway performances and a leading role in the 1968 Broadway production of Royal Hunt of the Sun, Quam turned his focus to painting. His first one-man exhibition was at the Boatman Gallery, NYC in 1969 and was followed by twenty solo shows over the course of his career at venues including Gallery A, Flynn Gallery, CFM Gallery, Brewster Gallery, Imperial Gallery, Runyon Winchell Gallery and the Gallery of Erotic Art, all in New York City. Quam's work was also exhibited at the John Pense Gallery in San Francisco, the Clark-Whitney Gallery in Massachusetts, the Barrett House and Desmond Weiss Galleries in Poughkeepsie, and for many years at the Ann Leonard Gallery in Woodstock. Quam's paintings were exhibited internationally, as well, notably in a solo exhibition in Haiti-- the first by an American artist in that country. In addition, he was one of four artists to represent the United States in La Bienalle di Venezia, Italia of 1986. As a young man, Quam designed sets and/or costumes for the Actor's Playhouse in New York City, the Lucas Hovig Ballet Company, and the Opera Municipal de Marseilles, France. He also created illustrations for The Story of O...

Katharine Hepburn & Spencer Tracy WOMAN OF THE YEAR Oscars Film NYT Published Al Hirschfeld (1903-2003) Katharine Hepburn and Spencer Tracy in "Woman of the Year" Lithograph on hea...

Leonard Nowak, 'The Thinker?', conté crayon and India ink, c. 1940s. Signed in ink, lower left. Original cartoon drawing, on textured, off-white wove dra...

Set of 4 by Guy Nicod (French 1923 - 2021) watercolour on artist paper, unframed painting : 8.75 x 6.5 inches stamped verso provenance: artists estate, France condition: very good an...

Graphite with white heightening on greenish beige wove paper, 17 1/4 x 12 1/2 (437 x 317 mm). Scattered edge wear, tears and losses around the perimeter of the drawing. Margins are wide and the image area is clean and intact. Scattered light soiling and toning, all consistent with age. A dramatic image by a highly skilled draftsman, this works is likely a life study of the Hellenistic sculptural masterpiece of the same title, which is housed in the Uffizi's collection of ancient statues...

Early 19th century French School, Portrait of a young man in profile charcoal on cut paper applied to pink tinted paper Oval 58 x 47 cm (overall size) the portrait itself 41.5 x 28...

17th Century Old Master Drawing Old master drawing with figure and putti Housed in a handsome contemporary wooden frame Drawing dimensions 4...

Artist: Ian Hornak (1944-2002) Title: Renaissance Male and Female Nude Study Year: circa 1963 Medium: Original drawing on vélin Strathmore paper Size: 23 x 18 inches Condition: Good ...

Getting Rest is a drawing realized by Luis Emile Adan in the early 20th Century. Pastel on ivory-colored paper. Good conditions with slight foxing. The artwork is realized through...

Artist: Ian Hornak (1944-2002) Title: Renaissance Hand Figure Study Year: circa 1963 Medium: Original drawing on vélin Strathmore paper Size: 18 x 23 inches Condition: Good Provenanc...

"Private Moment", 39x27.5in / 100x70cm, pencil and ultramarine tempera on paper, inspired by Matisse. Part of Nude in Interior series. Large drawing. Shipped rolled in a tube, from Florida, US. Free shipping for items over $500 with 1stDibs code. "Private Moment" is an exceptional addition to the "Nude in Interior" series, offering a quiet, introspective narrative that exudes grace and serenity. The young female figure, seated on an elegant armchair, is rendered with the artist's signature ultramarine on ochre paper, a pairing that enhances the emotional depth and sophistication of the scene. The interplay between the figure, the armchair, and the background elevates this work to one of both elegance and intimacy. The composition is centered yet fluid, with the figure reclining gracefully within the ornate frame of the armchair. Her pose—relaxed but introspective—creates a sense of harmony between the human form and the architectural rigidity of the chair. The artist’s sweeping, gestural brushstrokes provide movement and energy to the static pose. The curves of the body mirror the chair’s decorative elements, emphasizing the unity between the figure and her environment. The suggestion of a room or interior space in the background, with its gridded linear patterns, contrasts the organic softness of the figure and the chair. This juxtaposition adds visual interest while grounding the scene in a lived, tangible space. The combination of ultramarine blue and warm ochre paper continues to be a defining characteristic of the series, but here it feels especially poignant. The vivid blue of the figure and chair stands out against the muted background, emphasizing their significance while allowing the ochre to imbue the work with warmth and subtlety. The cool blue tones evoke calmness and introspection, while the warm ochre creates a sense of comfort and intimacy. This duality reflects the subject’s private moment—a mix of solitude, peace, and perhaps quiet contemplation. The figure’s pose—sitting with one leg bent and her arms lightly embracing herself—suggests vulnerability and self-reflection. There’s a narrative of quiet introspection, perhaps even self-care, that invites the viewer into a deeply personal moment. The elegant, almost regal armchair adds an element of formality or tradition to the scene. This contrast between the casual nudity of the figure and the structured formality of the chair lends the piece a timeless quality, connecting it to historical depictions of the reclining nude in fine art. The armchair recalls the opulence of classical interiors, reminiscent of Rococo or Baroque aesthetics. However, the loose, gestural style firmly situates the work in a contemporary context, bridging historical traditions with modern expression. Like many works in the series, "Private Moment" explores themes of solitude, introspection, and the intimate relationship between figure and space. The title emphasizes the personal, unguarded nature of the scene, making it feel both universal and deeply individual. "Private Moment" is a poignant, beautifully composed work that encapsulates the themes of intimacy, elegance, and reflection central to the "Nude in Interior" series. The artist’s expert use of ultramarine and ochre, combined with their dynamic gestural technique, creates a scene that feels timeless yet deeply personal. This piece stands as a testament to the artist’s ability to balance classical influences with modern sensibilities, making it a captivating and thought-provoking work. "Private Moment" is an exceptional addition to the "Nude in Interior" series, offering a quiet, introspective narrative that exudes grace and serenity. The young female figure, seated on an elegant armchair, is rendered with the artist's signature ultramarine on ochre paper, a pairing that enhances the emotional depth and sophistication of the scene. The interplay between the figure, the armchair, and the background elevates this work to one of both elegance and intimacy. The composition is centered yet fluid, with the figure reclining gracefully within the ornate frame of the armchair. Her pose—relaxed but introspective—creates a sense of harmony between the human form and the architectural rigidity of the chair. The artist’s sweeping, gestural brushstrokes provide movement and energy to the static pose. The curves of the body mirror the chair’s decorative elements, emphasizing the unity between the figure and her environment. The suggestion of a room or interior space in the background, with its gridded linear patterns, contrasts the organic softness of the figure and the chair. This juxtaposition adds visual interest while grounding the scene in a lived, tangible space. The combination of ultramarine blue and warm ochre paper continues to be a defining characteristic of the series, but here it feels especially poignant. The vivid blue of the figure and chair stands out against the muted background, emphasizing their significance while allowing the ochre to imbue the work with warmth and subtlety. The cool blue tones evoke calmness and introspection, while the warm ochre creates a sense of comfort and intimacy. This duality reflects the subject’s private moment—a mix of solitude, peace, and perhaps quiet contemplation. The figure’s pose—sitting with one leg bent and her arms lightly embracing herself—suggests vulnerability and self-reflection. There’s a narrative of quiet introspection, perhaps even self-care, that invites the viewer into a deeply personal moment. The elegant, almost regal armchair adds an element of formality or tradition to the scene. This contrast between the casual nudity of the figure and the structured formality of the chair lends the piece a timeless quality, connecting it to historical depictions of the reclining nude in fine art. The armchair recalls the opulence of classical interiors, reminiscent of Rococo or Baroque aesthetics. However, the loose, gestural style firmly situates the work in a contemporary context, bridging historical traditions with modern expression. Like many works in the series, "Private Moment" explores themes of solitude, introspection, and the intimate relationship between figure and space. The title emphasizes the personal, unguarded nature of the scene, making it feel both universal and deeply individual. "Private Moment" is a poignant, beautifully composed work that encapsulates the themes of intimacy, elegance, and reflection central to the "Nude in Interior" series. The artist’s expert use of ultramarine and ochre, combined with their dynamic gestural technique, creates a scene that feels timeless yet deeply personal. This piece stands as a testament to the artist’s ability to balance classical influences with modern sensibilities, making it a captivating and thought-provoking work. Artist Statement "I started by painting interiors, being interested in space and perspective through my studies. These scenes evolved, when I added the human figure. I focused more on the human figure and its relation to the background. The human figure is more present than ever in my paintings now. As a woman artist I’ve been preoccupied with the female form and its imagery. One of my goals was to capture the solitary moments and the nude’s relation to the surrounding space. My interest turned from depicting the space to rendering the atmosphere and the scene as a whole, the feeling a woman adds to the environment: warmth, desire, joy, a feeling of power and control, or the opposite – sadness, despair. Here is a collection of figurative paintings, exploring the nudes in interior spaces, seeing the nudes from my perspective, as a woman artist, considering the physical and spiritual realities of a woman’s body, in a new level of intimacy. My paintings are the opposite of objectifying a woman’s or a man’s anatomy. Painted works, featuring female nudes and a also men nudes, in a reversal of the male-artist/female-muse pattern, validate the feminine experience, defining myself through it. I was interested in how one experiences the body in a sensual form, and later focused on my own body, as I experience it myself, looking into the mirror and reconnecting. My work challenges the tradition of the nude by capturing my point of view, the gaze of a female painter, by using photography, drawings, sketches, and painting on canvas, for, both physical and psychological exploration. My art tries to create a visual language for emotion, beauty, feelings of intimacy and in the same time autonomy, captured with paint and vivid colors. My intense interest in color and the gestures of the brush strokes are the means I see and convey the subjects in space, as living, passionate beings." Paula Craioveanu