People Figurative Drawings and Watercolors

Nude Female Figure is an original modern artwork realized the 1920s by the Italian artist Mino Maccari (Siena, 1898 - Rome, 1989). Original pencil drawing on Ivory paper. Hand-sig...

The Power is a modern artwork by Gabriele Galantara (1865-1937) in the early 20th century. The artwork was in mixed media of ink and white lead on paper. Included a Passepartou: 50...

This artwork "Tayside Sheep Farm, Scotland" c.1930, is a watercolor on paper by British artist Ken Cherrington, 1886-1969. It is signed at the lower left corner by the artist. The ar...

"Performance I & II" are thoughtful and dynamic charcoal drawings on paper by Patsy McArthur. They are monotone, black and white, and show a woman wearing a fashionable striped skirt...

“TEMPLE OF THE Great BUDDHA.” 50X70 CM. WATERCOLOR, PAPER. SERIES "MANIFESTATIONS OF DIVINE." Once, Siddhartha Gautama was an ordinary man, yet through countless lifetimes of virtue ...

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

This brilliant study sheet, of which we present here a counterproof, is a souvenir of Fragonard's return journey from Italy. Between April and September 1761, he accompanied the abbot of Saint-Non on his way back to France. Three studies after the masters taken from the Pitti Palace’s gallery in Florence are gathered on this sheet. Although The Ecstasy of Saint Margaret...

A Striking 1950s Mid-Century Modern Ink Drawing of a Standing Female Dancer by Noted Chicago Artist, Harold Haydon (Am. 1909-1994). Exhibiting a spare and exceptional use of brushwo...

A Striking 1950s Mid-Century Modern Ink Drawing of a Standing Female Nude by Noted Chicago Artist, Harold Haydon (Am. 1909-1994). Exhibiting a spare and exceptional use of brushwork...

A Striking 1950s Mid-Century Modern Ink Drawing of a Standing Female Nude by Noted Chicago Artist, Harold Haydon (Am. 1909-1994). Exhibiting a spare and exceptional use of brushwork...

A Striking 1950s Mid-Century Modern Ink Drawing of a Reclining Female Nude by Noted Chicago Artist, Harold Haydon (Am. 1909-1994). Exhibiting a spare and exceptional use of brushwor...

A Stunning Mid-Century Modern Ink Drawing of a Seated Female Nude by Noted Chicago Artist, Rudolph T. Pen. Completed in the 1960s, this compelling studio ink drawing is executed in ...

Judith Williams’ Moonlit Musings evokes a dreamlike moment of introspection. This charcoal drawing features soft shadows and flowing lines that suggest movement, memory, and quiet th...

Ink on paper Signed and dated, l.c. This artwork is offered by ClampArt, located in New York City. Mark Beard, born in 1956 in Salt Lake City, now...

Broken Fist, 2016 Charcoal on paper 30 x 40 cm Signed and dated Kanarelis presents a journey towards the truth, a truth bound to a genuine subjective point of view of the familiar a...

Jean Cocteau - The Fight - Original Signed Drawing 1923 28 x 22 cm Signed This drawing was made as a frontispiece of the book Dessins publishe...

"Fear Not; Only Believe" is an original watercolor and gouache painting by Reginald K. Gee. The artist signed and dated the artwork lower right. It depicts two people walking through...

Ten Framed 19th Century Chinese Pith Paintings of Courtly Entertainment Chinese, 19th Century Height 29cm, width 41cm, depth 2cm This striking suite of ten Chinese watercolours is p...

Eduardo DalBono, Portrait of a Lady Painting En Plein Aire, 1880's. Watercolour on card paper of a lady dressed in white in an artist’s folding chair seated with sketchbook and brush viewing the landscape, possibly seaside with soft brown dunes in the background and blue and green brush foliage in the foreground. An elegant subject softly rendered in original gilt carved floral frui frame. Eduardo DalBono was a Neapolitan pupil of Nicola Palizzi...

Statue of Vishnu Garuda, Bali, 1904 Signed with initials Pencil and ink on paper, 21.4 x 21.3 cm Literature: Bruce W. Carpenter, W.O.J. Nieuwenkamp. First European Artist in Bali,...

John Richard Flanagan was born in Sydney, Australia. At the age of thirteen Flanagan left school to help support his family as an assistant to a lithographer producing advertising co...

The loose brush strokes and minimal pencil outline convey a sense of ease in this female nude by Eduardo Alvarado. The female is shown in a side view in muted earth tones on pale yellow paper with a water mark all along the right side of the piece. The piece is matted in a heavy mat measuring 16h x 14w inches. This artwork is unframed. Contact gallery for framing request. EDUARDO ALVARADO b. Spain, 1972 EDUCATION 1990-95 Licenciado en BB AA La Facultad de BB AA de la UPV, Bilbao La Facultad de BB AA de San Fernando, Madrid SOLO EXHIBITIONS 2018 Casa del Libro, Logroño 2016 Casa de Cultura. Miranda de Ebro 2015 Casa de Cultura. Miranda de Ebro Galería Espiral, Noja 2014 Galerie d´Art Anne Broitman. Biarritz, France 2013 Galería de Arte-Centro Cultural (junto a Vesna Pavlovic). Novi Sad, Serbia Centro Cultural La Vidriera, Maliaño The Gallery of Contemporary Fine Arts (junto a Vesna Pavlovic). Nis, Serbia 2012 Gallery Seasons (junto a Vesna Pavlovic). Sofia, Bulgaria Gallery SKC (junto a Vesna Palovic). Belgrado, Serbia Manos para qué os quiero. Logroño Galería Espiral. Feria Internacional de Arte Contemporáneo, Santander Sala Asociación Artistas de Guipuzcoa (junto a Juan Carlos Cardesín), San Sebastian 2011 Galería Espiral, San Miguel de Meruelo Galería Jovan Popovic (junto a Vesna Pavlovic). Opovo, Serbia Galería Veciti Trkac (junto a Vesna Pavlovic). Nis, Serbia Exit Art Gallery (Fundación Adolfo Dominguez...

Reginald Marsh, 1898 – 1954 Monseigneur News Theatre, 1925 Signed and dated at lower right: 'Reginald Marsh 1925' Watercolor on card 8 x 11 inches Born in Paris to parents who were American artists, Reginald Marsh became an adept illustrator at an early age. His family returned to the United States in 1900. Upon graduating from Yale University, Marsh moved to New York and in 1922 took a job as an illustrator at the New York Daily News. For the paper he provided cartoons of vaudeville and burlesque shows. In 1925 Marsh went to work for a new magazine -- The New Yorker -- as one of its original cartoonists. That same year he married Betty Burroughs, daughter of the paintings curator at the Metropolitan Museum of Art. Later that year they traveled to Europe where Marsh discovered the work of the old masters at the Louvre in Paris and British museums. With a sketchbook always on hand, he wandered the streets of Europe and began depicting bums or what he called figures of failure. Upon the couple’s return, Marsh, now with a serious interest in pursuing art, enrolled at the Art Students League where he studied under George Luks, John Sloan, and Kenneth Hayes Miller. This work, Monseigneur News Theatre, is accompanied by a letter from Marsh Scholar Professor Norman Sasowsky, University of Delaware...

Magazine Cover Illustration Mid 20th Century Modern Theatre Broadway Realism WPA Ernest Hamlin Baker (1889 – 1975) “Today Magazine” Cover ...

Gouache and color pencil on paper Unique work Hand-signed by the artist The red necklace of the naked Queens “My artistic research has expanded over the years, crossing paths alre...

Inspired by the theatre world, Devie had retained her own unique drawing strokes. Her works reflect an approachable other-worldliness. She paints a story to be told and answered. Th...

Graphite on paper Image size of rectangular works: 33 x 43 inches (84 x 109 cm) Image size of arched central work: 38 1/4 x 29 inches (97 x 73.5 cm) Provenance Private Collection of Seymour Stein, Vice President of Warner Bros Records Sotheby's 'Modern British and Irish Art,' London, 19 May 2004, lot 92 The three impressive drawings are studies for Stroudley’s ‘Olympic Games in a Demi-Lune’. From left to right the studies depict groups of athletes practicing diving, a conversing crowd of oarsmen, hurdlers mid jump and a collection of javelin throwers. This study was created in 1930 when Stroudley practiced in the British School in Rome. There are few surviving works from Stroudley’s short stay in Rome, with the compositions from his Rome period being among the last wholly successful decorative cycles produced by a Rome Scholar prior to World War II. Indeed, as can be seen here, his drawings from this period are technically brilliant and even bear comparison with those of Eric Kennington. James Stroudley Stroudley was born in London on 17 June 1906, the son of James Stroudley, showcard and ticket writer. He studied at Clapham School of Art (1923-27) and then at the Royal College of Art (1927-30), where his teachers included Alan Gwynne-Jones and William Rothenstein. As a recipient of the first Abbey Scholarship he was able to spend three years in Italy from 1930, where he absorbed the influences of Giotto and Piero della Francesca, and produced one of the last wholly satisfying decorative cycles by a Rome Scholar of the period. From 1934, he exhibited at the Royal Society of British Artists, and was elected to its membership in the following year. From the Second World War – in which he worked with the Camouflage Unit – Stroudley taught at St Martin’s School of Art and was a visiting lecturer at the Royal Academy Schools. Though he continued to live in London, his later work, exhibited at the Royal Academy from 1955, indicated regular painting trips to Kent and Sussex coasts. However, much of his later work was abstract. In 1971, his former student, Peter Coker, paid homage to Stroudley by including his work in the exhibition ‘Pupil & Masters’, held at Westgate House, Long Melford, Suffolk. Stroudley married three times, and his wives included the fashion artist to the Sun newspaper...

Thomas Rowlandson (English, 1756-1829) Original Illustration titled "Beagles" Watercolor, pencil, and ink on paper Signed lower left From the Collection of David Rockefeller, Jr. ...

Roberto Matta, Chilean (1911 -2002) - Surrealist Figure in Space-scape, Year: 1956, Medium: Wax Crayon on paper, Size: 13 x 10 in. (33.02 x 25.4 cm), Frame Size: 20.5 x 18 inches...

"Bee Keeper" is an original black conte crayon drawing by Sylvia Spicuzza. The artist signed this piece lower right. This drawing depicts abstrac...

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...

Erté (Romain de Tirtoff) 1892-1990 Russian-French Les travestis (The Transvestites) Signed “Erté” (lower right) Inscribed "No. 18.363 / Moi, j'aime le music-hall / Les Travestis" (en verso) Gouache on paper Erté’s costume...

Figures and Birds Watercolor Traditional Indian Mithila Painting artist signed. Pencil, ink, natural dye watercolor, on handmade paper 17.7x22.7 framed under glass 24x29. Sita Devi (1914–2005) was an Indian artist, specializing in painting in the Madhubani tradition. She is one of the most well-known Madhubani artists from India...

The painting is signed and dated 1858 Felix Schlesinger (1833-1910) was a German painter known for his charming and detailed portrayals of domestic ...

A Stunning Mid-Century Modern Ink Drawing of a Seated Female Nude by Noted Chicago Artist, Rudolph T. Pen. Completed in the 1960s, this compelling studio ink drawing is executed in ...

Literature: Alfonso Panzetta, Jared French by Jared French: 600 Unpublished Works from the Artist's Italian Years (Turin, Italy: Umberto Allemandi & C., 2010), no. 31, p. 60, illus. ...

“Yes, I find there’s nothing like a motor for giving me ideas for new dance steps.” Humorous illustration for Life magazine, published December 31, 1914 Signed lower left Lowell ...

Irene Hölzer-Weineck was born in Prague in 1888 and later worked as a painter primarily in Vienna. After artistic training with the Czech painter Vojtech Hynais, Hölzer-Weineck studi...

Frederick Bosley was an Impressionist painter of the Boston School who most often depicted portraits, figures and still-lifes. The artist was born in Lebanon, New Hampshire in 1881. He studied at the Museum School in Boston from 1900-1906 with Edmund C. Tarbell (1862-1938) and Frank W. Benson (1862-1951), and then in Europe from 1906-1908. Bosley returned to Boston in 1909, obtaining a studio at the Fenway Studios from 1909-1918. He was to become a teacher in his own right, settling as Director at the Museum School from 1913-1931. His many awards include First prize in the 1920 Concord Art Academy Exhibition and a Gold Medal in the Pennsylvania Academy of Fine Arts Exhibition, 1925. His work may be found in the collections of several institutions, including the Boston Museum of Fine Arts, the Farnsworth Museum, the National Academy of Design and the Concord Academy...

Stephen Basso's highly original pastels and oil paintings are romantic, yet thought provoking fantasies. His whimsical works are alive with boundless imagination, wry wit and fear...

Title is Fillette en Kimono, 1954 .Drawing by Jean Jansem, 1954. Included the certificate of authentic by Stephanie's gallery. Fillette en Kimono" is a captivating black and white drawing that beautifully captures the essence of Japanese culture and traditional clothing...

Johnson, Lester (American, 1919-2010). MEN IN BOWLER HATS. Drawing, watercolor, wash, and pastel on paper, 1973. Signed, lower right. 26 1/2 x 40 1/2 inches...

Ernest LAURENT Gentilly 1859 - Bièvres 1929 Study of young woman in profile Red chalk Circa 1900 80 x 63 cm framed 54 x 39 sheet Beautiful antique frame in natural wood, probabl...

At the stop 2022, paper, acrylic, 25x25 cm Ansis Butnors (1977) Education: J. Rozentals Art School in Riga – 1989. – 1996. Latvian Academy of Art, Painting Department – 1996. – 2...

Jean Durand, (French 1894-1977) Academic Study (Centaur), c.1930s, Charcoal on paper, studio stamp (lower right), 32cm x 48cm (63cm x 46cm framed.) The picture is framed behind museu...

This series was inspired by a 1950’s era instruction manual found while clearing out my father’s basement workshop. The How To Light A Model manual employed voluptuous female models to teach lighting techniques to amateur photographers such as my father. Diagrams plot the prescribed direction of the lights. The nude women hold the pose, their lips bright red and their feet dirty from the studio floor. As naked props for the authoritarian photographer, their vulnerability seems palpable. This work visualizes the human condition as a balance between feral and fabricated worlds. Vivid, oversized creatures embody instinctual energy. Wax seals, gold spheres and text-like marks signify rational structures. One speaks in a whisper, the other in a hiss. Winifred McNeill...

Movies, TV and magazines are constant source of inspiration. Fame, as fleckring and shallow it can be sometimes, is very intriguing to him. The worlds of fashion, society and pop cu...

The work is titled "The Bathers" and is signed at the lower right "CARENA. "The scene depicts a natural setting in which two naked maidens are chatting as they are about to bathe; be...

The Black Panther Trials - In this historically significant work, African American Artist Vicent D. Smith functions as an Art Journalist/ Court Reporter as much as a Artist. Here, he depicts, in complete unity, 21 Black Panther Protestors raising their fist of defiance at the White Judge. Smith's composition is about utter simplicity, where the Black Panther Protestors are symmetrically lined up in a confrontation with a Judge whose size is exaggerated in scale. Set against a stylized American Flag, the supercilious Judge gazes down as the protesters as their fists thrust up. Signed Vincent lower right. Titled Panter 21. Original metal frame. Tape on upper left edge of frame. 255 . Panther 21. Framed under plexi. _____________________________ From Wikipedia In 1969-1971 there was a series of criminal prosecutions in New Haven, Connecticut, against various members and associates of the Black Panther Party.[1] The charges ranged from criminal conspiracy to first-degree murder. All charges stemmed from the murder of 19-year-old Alex Rackley in the early hours of May 21, 1969. The trials became a rallying-point for the American Left, and marked a decline in public support, even among the black community, for the Black Panther Party On May 17, 1969, members of the Black Panther Party kidnapped fellow Panther Alex Rackley, who had fallen under suspicion of informing for the FBI. He was held captive at the New Haven Panther headquarters on Orchard Street, where he was tortured and interrogated until he confessed. His interrogation was tape recorded by the Panthers.[2] During that time, national party chairman Bobby Seale visited New Haven and spoke on the campus of Yale University for the Yale Black Ensemble Theater Company.[3] The prosecution alleged, but Seale denied, that after his speech, Seale briefly stopped by the headquarters where Rackley was being held captive and ordered that Rackley be executed. Early in the morning of May 21, three Panthers – Warren Kimbro, Lonnie McLucas, and George Sams, one of the Panthers who had come East from California to investigate the police infiltration of the New York Panther chapter, drove Rackley to the nearby town of Middlefield, Connecticut. Kimbro shot Rackley once in the head and McLucas shot him once in the chest. They dumped his corpse in a swamp, where it was discovered the next day. New Haven police immediately arrested eight New Haven area Black Panthers. Sams and two other Panthers from California were captured later. Sams and Kimbro confessed to the murder, and agreed to testify against McLucas in exchange for a reduction in sentence. Sams also implicated Seale in the killing, telling his interrogators that while visiting the Panther headquarters on the night of his speech, Seale had directly ordered him to murder Rackley. In all, nine defendants were indicted on charges related to the case. In the heated political rhetoric of the day, these defendants were referred to as the "New Haven Nine", a deliberate allusion to other cause-celebre defendants like the "Chicago Seven". The first trial was that of Lonnie McLucas, the only person who physically took part in the killing who refused to plead guilty. In fact, McLucas had confessed to shooting Rackley, but nonetheless chose to go to trial. Jury selection began in May 1970. The case and trial were already a national cause célèbre among critics of the Nixon administration, and especially among those hostile to the actions of the FBI. Under the Bureau's then-secret "Counter-Intelligence Program" (COINTELPRO), FBI director J. Edgar Hoover had ordered his agents to disrupt, discredit, or otherwise neutralize radical groups like the Panthers. Hostility between groups organizing political dissent and the Bureau was, by the time of the trials, at a fever pitch. Hostility from the left was also directed at the two Panthers cooperating with the prosecutors. Sams in particular was accused of being an informant, and lying to implicate Seale for personal benefit. In the days leading up to a rally on May Day 1970, thousands of supporters of the Panthers arrived in New Haven individually and in organized groups. They were housed and fed by community organizations and by sympathetic Yale students in their dormitory rooms. The Yale college dining halls provided basic meals for everyone. Protesters met daily en masse on the New Haven Green across the street from the Courthouse (and one hundred yards from Yale's main gate). On May Day there was a rally on the Green, featuring speakers including Jean Genet, Abbie Hoffman, Jerry Rubin, and John Froines (an assistant professor of chemistry at the University of Oregon). Teach-ins and other events were also held in the colleges themselves. Towards midnight on May 1, two bombs exploded in Yale's Ingalls Rink, where a concert was being held in conjunction with the protests.[4] Although the rink was damaged, no one was injured, and no culprit was identified.[4] Yale chaplain William Sloane Coffin stated, "All of us conspired to bring on this tragedy by law enforcement agencies by their illegal acts against the Panthers, and the rest of us by our immoral silence in front of these acts," while Yale President Kingman Brewster Jr. issued the statement, "I personally want to say that I'm appalled and ashamed that things should have come to such a pass that I am skeptical of the ability of a Black revolutionary to receive a fair trial anywhere in the U.S." Brewster's generally sympathetic tone enraged many of the university's older, more conservative alumni, heightening tensions within the school community. As tensions mounted, Yale officials sought to avoid deeper unrest and to deflect the real possibility of riots or violent student demonstrations. Sam Chauncey has been credited with winning tactical management on behalf of the administration to quell anxiety among law enforcement and New Haven's citizens, while Kurt Schmoke, a future Rhodes Scholar, mayor of Baltimore, MD and Dean of Howard University School of Law, has received kudos as undergraduate spokesman to the faculty during some of the protest's tensest moments. Ralph Dawson, a classmate of Schmoke's, figured prominently as moderator of the Black Student Alliance at Yale (BSAY). In the end, compromises between the administration and the students - and, primarily, urgent calls for nonviolence from Bobby Seale and the Black Panthers themselves - quashed the possibility of violence. While Yale (and many other colleges) went "on strike" from May Day until the end of the term, like most schools it was not actually "shut down". Classes were made "voluntarily optional" for the time and students were graded "Pass/Fail" for the work done up to then. Trial of McLucas Black Panther trial sketch...

The Strange Fairy is an original contemporary artwork realized by a European Artist in the second half tf 20th Century. Mixed colored oil on board. Hand signed by the artist with ...

"La sentinelle de Thérèse" (The Sentinel of Therese), two soldiers discussing, bears a handwritten note at the bottom "if you feel like sneezing, you will go under the window of the ...

Place Vendôme by H. Claude Pissarro (b. 1935) Pastel on card 37 x 51 cm (14 ⁵/₈ x 20 ¹/₈ inches) Signed lower right, H. Claude Pissarro This work is accompanied by a certificate of ...

Playboy School, 20th Century Artists and their muses: Titian and Violante; Sir Peter Lely and Nell Gwyn; Francois Boucher and Louise O’Murphy; Hogarth, Nell...

Each plate 20 1/4" x 13 1/2" 1 4-fold plate 2 2-fold plates Georges Goursat (1863–1934), known as Sem, was a French caricaturist famous during the Belle Époque. Life and works Youth (1863–1900) Georges Goursat was born and raised in an upper-middle-class family from Périgueux. The wealth inherited from his father at the age of 21 allowed him to sustain a gilded youth. In 1888 he self published in Périgueux his first three albums of caricatures, signing some as "SEM" (Figure, left), allegedly as a tribute to Amédée de Noé who signed his caricatures for Le Monde illustré as "Cham". From 1890 to 1898, he settled for a few years in Bordeaux. During this period, he published more albums and his first press caricatures in La Petite Gironde and discovered the work of Leonetto Cappiello. His style matured, becoming both simpler and more precise. During the same period, he made trips to Paris. In 1891, he designed two posters printed in the workshop of Jules Chéret for the singer Paulus . He published his first caricatures of artists in L'Illustration (Albert Brasseur) and Le Rire (Paulus, Polin and Yvette Guilbert). From 1898 to 1900, he lived in Marseille. During this stay, he met Jean Lorrain who convinced him to live in Paris. Caricature women on a boat being sailed by a sailor by Sem, 1925 Belle Époque (1900–1914) Goursat arrived in Paris in March 1900, at the time of the opening of the Universal Exposition. He picked horse races as his way of entry in high society. In June, three months after his arrival, he self-published a new album, Le Turf, with caricatures of many prominent Parisian socialites (Marquess Boni de Castellane, Prince Trubetskoy, Count Clermont-Tonnerre, Baron Alphonse and Gustave de Rothschild, Polaire). The success of this album made him famous overnight. In October of the same year, he published another album, Paris-Trouville, with the same success. Nine others followed until 1913. In 1904, Goursat received the Légion d'honneur. In 1909, he exhibited with the painter Auguste Roubille, first in Paris, then in Monte Carlo and London. a diorama, composed of hundreds of wooden figurines "of all the merely Paris celebrities". World War I (1914–1918) Aged over 50 at the start of World War I, Goursat was not drafted. He nevertheless involved himself as a war correspondent for Le Journal. Some of his rather "chauvinistic" articles had an "enormous impact".Ten were published in 1917 in Un pékin sur le front. Two others were incorporated in 1923 in another book, La Ronde de Nuit. In 1916 and 1918 Goursat published two albums of Croquis de Guerre (War sketches). Their style is completely different from his previous work. He also designed posters for war bonds. Années Folles (1918–1934) After the war, Goursat came back to the kind of caricatures that made him famous. In 1919, he published Le Grand Monde à l'envers (High Society upside down). Around 1923, he published 3 albums under the general title of Le Nouveau Monde...

-ARTIST STATEMENT- I depict my person in multiplicity with different selves representing dramatis personae. My likeness is both implicit and symbolic in the portrayal of my narrative; the drama involved in creating art and the artist’s role in society. I use realism to invite the viewer into mysterious inner worlds that are layered reflections of the outer. Dehumanizing environments are imbued with art historical references as a critique of power structures. The artist is an Everyman who is at odds with society and his self. Visually my work is a celebration of society’s dark undercurrents and its overlooked absurdities. I use charcoal and printmaking media as their tenebrous values add a fitting metaphor. The nuances of light and shadow seduce viewers into a world their better judgment would have them avoid. This provokes a sense of disquietude that causes viewers to assess our world through the austerity of a colorless, yet not humorless, light. -BIO- Christopher Ganz grew up in Northeast Ohio and from early on had a fertile imagination and an interest in art. Christopher's artistic education truly began at the University of Missouri, where his love of the human form led to many figure drawing classes and his exposure to the wonders of printmaking. Christopher's then went onto graduate school at Indiana University and a summer abroad program in Italy was a dream realized. Christopher then grasped charcoal with a renewed vigor and large, sfumato-laden drawings ensued. Christopher's artistic influences are many; from a seminal exposure to Dore's engravings of the Divine Comedy, to Rembrandt, Caravaggio, Goya, and up to Lucian Freud, Mark Tansey...

The Madonna & Child by J. Canava, Italian late 19th century miniature painting on ceramic, framed within velvet inset and frame image measures 3.2...

Study of a sultry and seductive reclining platinum blond Pin Up with a wide-brimmed sun hat. Most likely done for Playboy. This work is very finely rendered and looks better the ...

Léa Lafugie is a painter who has travelled extensively throughout Asia. She is renowned for her portraits. She studied at the Ecole des Arts Décoratifs in Paris, then at the Ecole de...