People Figurative Drawings and Watercolors

"I Saw You in My Dreams" (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 blac...

Artist: Mkrtich Sarkisyan (Mcho) Work: Original Drawing, Handmade Artwork, One of a Kind Medium: Ink on Paper Year: 2023 Style: Abstract Figurative Subject: Wedding, Size: 12" x 9...

Marcel BLOCH A Galant Welcome Original watercolor with gouache enhancement Handsigned bottom right c. 1930 On vellum 35 x 24 cm at view (c. 14 x 10 in) Information : This drawing i...

'Infanta Suculentas,' features the face of a young woman with succulents and skulls in an intricately patterned and complex graphite drawing on Kent paper. from Japanese artist Chika...

This is a hand drawn original artwork on heavyweight paper by internet sensation mad charcoal He is represented by Krause Gallery NYC Ships rolled in a ...

Pencil drawing realized by Mino Maccari in 1928 ca. Hand signed in pencil lower right. Very good condition.

Pen drawing on cardboard realized by Mino Maccari in 1950 ca. Hand signed in pencil lower right. Another drawing in pen on rear. Very good condition.

Charcoal drawing on paper realized by Mino Maccari in 1932 ca. Hand signed in pencil lower right. Very good condition.

Watercolor drawing realized by Mino Maccari in 1955 ca. Hand signed lower right. Very good condition except for some fold on top right corner.

Pen drawing and watercolor realized by Mino Maccari in 1938 ca. Hand signed lower right. Very good condition.

Sz: 18 1/8"H x 12"W Alexander Warren Montel (1921-2002) Fashion illustrator for House of Lanvin Paris in the 1950s featured in Harper's Bazaar Sailor w/ French Lass In Bag

Passageway North Africa was executed during Walter’s extensive travels throughout Spain, Northern Africa, and the Dalmatian coast. These works are magnificent snapshots –pictorial po...

Figures is a modern artwork realized by Francisco Bores in 1950. Charcoal drawings. Good conditions.

Artist: Mkrtich Sarkisyan (Mcho) Work: Original Drawing, Handmade Artwork, One of a Kind Medium: Ink on Paper Year: 2023 Style: Abstract Figurative Subject: Nude Size: 11" x 14" x...

L'Annunziata in S. M. sopra Minerva is an original old master artwork realized by Giovanni Fontana. Ivory colored sheet attached on an ivory colored cardboard ( cm 35.8 x 26.7) Bea...

Beth Erze Title: Untitled Year: 2017 Medium: Crayon, Wax Crayon, Pencil on Paper Size: 7.5 x 6.25 inches Signed by the artist COA provided

Collections: Muir Hetherington; Sir John and Lady Witt, acquired 1974; By descent to 2015. Literature: Tom Jones (ed.), William Henry Hunt 1790-1864, exh. cat., 1981, no. 145 (Girl in a bedroom); John Witt, William Henry Hunt (1790-1864) Life and Work, London, 1982, no. 553, p. 194, colour pl. 16. Exhibited: Wolverhampton, Central Art Gallery, Preston, Harris Museum and Art Gallery and Hastings, Hastings Museum and Art Gallery, William Henry Hunt 1790-1864, 1981, no. 145 as Girl in a bedroom (Lent by Sir John & Lady Witt) Framed dimensions: 20 x 20.75 inches This unusually charming and well-preserved watercolour was painted by William Henry Hunt in around 1833. Almost certainly depicting his young wife, Sarah, possibly in the interior of her family home at Bramley in Hampshire. This work shows Hunt’s remarkable virtuosity as a watercolourist, Hunt, for example, articulates the profile of his young wife, by leaving a reserve of white paper to suggest the light modelling her features. Throughout the 1830s Hunt made a sequence of richly painted interior views of both domestic and agricultural spaces which pay scrupulous attention to detail. Hunt was born in London, the son of a tin-plate worker and japanner. J. L. Roget recorded the observation of Hunt’s uncle: ‘nervy, little Billy Hunt… was always a poor cripple, and as he was fit for nothing, they made an artist of him.’ At the age of sixteen he was apprenticed to the landscape painter John Varley for seven years, moving to live with Varley at 18 Broad Street, Golden Square, London. There he made close friends with both John Linnell and William Mulready. Hunt worked at the ‘Monro Academy’, at 8 Adelphi Terrace, London, the house of Dr Thomas Monro, an enthusiastic patron of landscape watercolourists. Through Monro, Hunt was introduced to the 5th Earl of Essex...

Hand-coloured fashion plate No. 50 designed by Givenchy of Paris c.1980's including 3 fabric swatches attached Plate Sz: 11.5"H x 8"W Frame Sz: 16"H x 1...

Pornography is a china ink Drawing realized by Mino Maccari (1924-1989) in 1970s. Hand-signed on the lower margin. Good condition on a cream colored paper. Mino Maccari (Siena, 19...

Black marker pen on paper realized by Mino Maccari in 1960s. Hand monogrammed lower right. Very good condition.

Ink, tempera, watercolor and white lead realized by Gabriele Galantara in 1904. Hand signed in the top right corner. Published on "L'Asino" in 6/3/1904. Very good condition.

Portrait is a drawing in ink and watercolor realized by Leo Guida in the 1970s. Good condition. Leo Guida (1992 - 2017). Sensitive to current issues, artistic movements and histor...

This is a hand painted oil and mixed media artwork on canvas by internet sensation mad charcoal professionally framed He is represented by Krause Gallery...

Frank Nelson Wilcox (American, 1887–1964) Home in the Village, Mt. St. Michel, France, c. 1926 Watercolor on board Signed lower right 21.75 x 28 inches 30.5 x 36.5 inches, framed Frank Nelson Wilcox (October 3, 1887 – April 17, 1964) was a modernist American artist and a master of watercolor. Wilcox is described as the "Dean of Cleveland School painters," though some sources give this appellation to Henry Keller or Frederick Gottwald. Wilcox was born on October 3, 1887 to Frank Nelson Wilcox, Sr. and Jessie Fremont Snow Wilcox at 61 Linwood Street in Cleveland, Ohio. His father, a prominent lawyer, died at home in 1904 shortly before Wilcox' 17th birthday. His brother, lawyer and publisher Owen N. Wilcox, was president of the Gates Legal Publishing Company or The Gates Press. His sister Ruth Wilcox was a respected librarian. In 1906 Wilcox enrolled from the Cleveland School of Art under the tutelage of Henry Keller, Louis Rorimer, and Frederick Gottwald. He also attended Keller's Berlin Heights summer school from 1909. After graduating in 1910, Wilcox traveled and studied in Europe, sometimes dropping by Académie Colarossi in the evening to sketch the model or the other students at their easels, where he was influenced by French impressionism. Wilcox was influenced by Keller's innovative watercolor techniques, and from 1910 to 1916 they experimented together with impressionism and post-impressionism. Wilcox soon developed his own signature style in the American Scene or Regionalist tradition of the early 20th century. He joined the Cleveland School of Art faculty in 1913. Among his students were Lawrence Edwin Blazey, Carl Gaertner, Paul Travis, and Charles E. Burchfield. Around this time Wilcox became associated with Cowan Pottery. In 1916 Wilcox married fellow artist Florence Bard, and they spent most of their honeymoon painting in Berlin Heights with Keller. They had one daughter, Mary. In 1918 he joined the Cleveland Society of Artists, a conservative counter to the Bohemian Kokoon Arts Club, and would later serve as its president. He also began teaching night school at the John Huntington Polytechnic Institute at this time, and taught briefly at Baldwin-Wallace College. Wilcox wrote and illustrated Ohio Indian Trails in 1933, which was favorably reviewed by the New York Times in 1934. This book was edited and reprinted in 1970 by William A. McGill. McGill also edited and reprinted Wilcox' Canals of the Old Northwest in 1969. Wilcox also wrote, illustrated, and published Weather Wisdom in 1949, a limited edition (50 copies) of twenty-four serigraphs (silk screen prints) accompanied by commentary "based upon familiar weather observations commonly made by people living in the country." Wilcox displayed over 250 works at Cleveland's annual May Show. He received numerous awards, including the Penton Medal for The Omnibus, Paris (1920), Fish Tug on Lake Erie (1921), Blacksmith Shop (1922), and The Gravel Pit (1922). Other paintings include The Trailing Fog (1929), Under the Big Top (1930), and Ohio Landscape...

An Captivating, 1945 Mid-Century Modern Figure Drawing of a Standing Female Nude By Noted Chicago Artist, Harold Haydon (Am. 1909-1994). A finely rendered standing female nude studi...

Medium: Ink, Watercolor, Gouache on Paper laid to Paperboad Signature: Inscribed Collier's Cover Weekly/Sept. 1914/Belgian Automobile Troops/Fighting German Dragoons (on the reverse)...

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...

A new series inspired by architecture, décor and stylish personalities of the world of interior design. The worlds of fashion, society and pop culture are captured in the illustrati...

Apache dolls. Gouache, signed (?), dated 1958. Good condition. Gouache (visible): 33.5 x 26 cm. Mat: 50.5 x 40 cm.

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

Very finely executed ink and watercolor painting depicting the Balinese goddess, Saraswati. Signed lower left “De Mus, keliki-Kawan, Ubud, Bali”. The ...

Man Lying Naked is an original artwork realized by Jean Boullet. Original drawing in white pencil on black sheet of paper signed by Jean BOULLET (1921-19...

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...

Jean Louis Janmot (Lyon 1814 - 1892) Study of woman figure Black pencil 10,6 x 14,4 cm (26,6 x 30,2 x 6 cm with the frame) Provenance : from the artist's series of drawings. Wi...

This set of drawings has been like a Covid-19 diary of one woman and her domestic realm. Simone de Beauvoir, the century's most iconic feminist scholar, called the burden of women's ...

Brush and brown ink and wash with graphite on cream wove paper, 6 1/2 x 9 1/4 inches (165 x 232mm). Inscribed "Fahlerant, No. 9754, Paisaje--Orillas de un lago" in ink on the verso. ...

Portrait is an artwork realized  by Gabriel Zendel in the Mid 20th Century. Ink drawing. In good conditions.

The Crowded Cafe by Guy Nicod (French 1923 - 2021) watercolour on artist paper, unframed painting : 15 x 17.5 inches provenance: artists estate, France condition: very good and sound...

HANS BURKHARDT "DRESSING ROOM" PASTEL, SIGNED AMERICAN, DATED 1973 26 X 17.5 INCHES FRAMED 35 X 27 Fine condition

Collections: Sir Thomas Lawrence, who acquired the contents of Fuseli’s studio; Susan, Countess of Guilford, née Coutts (1771-1837), acquired from the Lawrence estate; Susan, Baroness North (1797-1884), daughter of the above; Mrs A. M. Jaffé, acquired in France, c. 1950 to 2016. Black chalks, on buff-coloured paper Stamped verso: ‘Baroness Norths Collection / of Drawings by H Fuseli Esq.’ Framed dimensions: 26.38 x 20.63 inches This boldly drawn sheet depicting a seated figure was made by Fuseli at an important and highly productive moment in his career. The monumental drawing is closely related to another sheet by Fuseli in the British Museum which Schiff published as subject unknown. Both drawings were made when Fuseli was designing his most important sequence of historical works, including scenes from Shakespeare and Milton, The Nightmare and The Death of Dido which was exhibited at the Royal Academy to great critical acclaim in 1781. The present drawing does not relate directly to any of Fuseli’s finished historical paintings of the period, but evidently the image of a slightly menacing, seated and covered old woman was precisely the sort of motif he was playing with. It is notable that the same figure reappears later in Fuseli’s work as the witch from Ben Jonson’s Witch’s Song which Fuseli produced as both a painting and engraving in 1812. Fuseli returned to London in 1779 from a highly creative and productive period in Rome and established himself as one of the leading history painters of the period. Fuseli re-established contact with his old mentor Sir Joshua Reynolds, becoming a regular guest at his dinner table and visitor to his studio. The earliest and most striking manifestation of this strategy was Fuseli's Death of Dido, exhibited in 1781 at the Royal Academy. Executed on the same scale as Reynolds's version (Royal Collection), Fuseli's vertically oriented picture was hung directly opposite Reynolds's with its horizontal orientation, inevitably inviting comparison between the two works and garnering Fuseli much publicity and favourable reviews in the newspapers. The present, previously unpublished sheet, relates closely to a drawing now in the British Museum. That sheet shows the same seated old woman, drawn on a smaller scale and more schematic in design, seated next to an anatomical drawing of a man. The pose of this figure is related to the pose of Dido in his Death of Dido; the foreshortened torso, arrangement of head, oblique view of Dido’s features and arms all suggest that the study can be viewed as an initial thought for the composition. Fuseli may have initially thought of including the figure of the hunched and covered old woman. Drawn on identical paper to the British Museum sheet, our study is an enlarged depiction of the same figure, more elaborately delineated and developed. The presence of a chain to the right of the figure, suggests that the iconography was related in some way to a scene of imprisonment. Fuseli had first explored the motif of the hooded old woman in an early Roman drawing, 'The Venus Seller'. The idea of a grotesque old woman, hooded and with angular nose and projecting chin seen in profile was most spectacularly used by Fuseli in his sequence of paintings depicting The Three Witches from Macbeth. Fuseli seems to have kept the present sheet and may have returned to it when preparing a painting of The Witch and the Mandrake from Ben Jonson’s Witch’s Song from his Masque of Queens in 1812. Here the same seated figure looks out from under her hood and picks a mandrake by moonlight. Jonson’s drama had been performed at the court of James I in 1609, inspired the subject. To throw the nobility of the queens into relief, the poet added a coven of witches, one of whom declares: ‘I last night lay all alone, On the ground, to hear the mandrake groan; And plucked him up, though he grew full low, And, as I had done, the cock did crow.’ The figure was reversed in the associated etching which was published in 1812. It seems likely that the present drawing remained as part of Fuseli’s working archive of figure studies. The present drawing was presumably purchased with the bulk of Fuseli’s drawings after the artist’s death by Sir Thomas Lawrence. Lawrence’s large group of Fuseli drawings were then acquired by Susan, Countess of Guildford (1771-1837). Lady Guildford was the eldest daughter of the banker Thomas Coutts (1735-1822), who himself had supported Fuseli’s journey to Rome in the 1770s and had remained one of the artist’s key...

A Sensitive, Finely Rendered 1950s Mid-Century Modern Portrait of a Young Man By Noted Chicago Artist, Harold Haydon (Am. 1909-1994). Artwork size: 12 x 9 1/2 inches. Artwork is un...

“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 ...

Ink, tempera, watercolor and white lead realized by Gabriele Galantara in 1900s. Hand signed in the lower right corner. Very good condition.

Ink, tempera, watercolor and white lead realized by Gabriele Galantara in 1904. Hand signed in the lower right corner. Published on "L'Asino" in 27/3/1904. Very good condition.

Brownish ink and grayish ink wash with white heightening on handmade cream laid paper, 10 5/8 x 8 1/4 inches (267 x 208 mm)(matrix). Scattered minor losses to top sheet edge (outside...

Elmer Pirson (1988-1935). Color pencil and paint on paper. Sheet measures 10.5 x 14 inches. Unframed and unmounted. Estate stamp on verso. Excellent condition. An American Illustrator and painter, Elmer William Pirson was born in 1888 in New York. Artistically, he is known to have studied under George Bridgman and James Earle Fraser...

Beaches in Cap Skiring No.1 is a unique oil pencil on cardboard, glued on wooden frame drawing by contemporary artist Calo Carratalá, dimensions are 80 × 139 × 4 cm (31.5 × 54.7 × 1....

signed "EJB." at lower right 21 3/4 x 17 inches including frame

Rome by Arthur A. Wilkinson (British, c.1860-1930) signed and dated 1878 watercolor on artist paper , unframed artist paper : 11 x 17 inches Provenance: private collection, the Cotsw...

Roman countryside is an original modern artwork realized by Robert Werner in the early 20th Century. Mixed colored ink and watercolor on paper. Hand signed on the lower margin. In...

Watercolor on paper by Sirio Pellegrini in 1969. Hand signed and dated. Drawing made up of several fragments joined together. Includes a contemporary wooden frame 97x89 cm. Sirio ...

This is an original drawing by Virgil Ross featuring Bugs Bunny, Rocky, and Mugsy, likely from the classic looney tunes cartoons. Graphite, colored pencil on animation paper. Untrimm...

Stately portrait of George Arliss by Ivan Opffer (Danish, 1897-1980). Mr. Arliss is depicted wearing his signature monocle, looking directly at the viewer. Although this piece appears to be done rapidly, there is a clear confidence in Opffer's work - he was an accomplished portrait artist - and the resemblance to the subject is unmistakable. George Arliss (born Augustus George Andrews; 10 April 1868 – 5 February 1946) was an English actor, author, playwright, and filmmaker who found success in the United States. He was the first British actor to win an Academy Award – which he won for his performance as Victorian-era British prime minister Benjamin Disraeli in Disraeli (1929) – as well as the earliest-born actor to win the honour. He specialized in successful biopics, such as Disraeli, Voltaire (1933), and Cardinal Richelieu (1935), as well as light comedies, which included The Millionaire (1931) and A Successful Calamity (1932). Signed and dated "Ivan Opffer 1934" in the lower right. Titled "Mr. Arliss" in the lower left. Presented in a new off-white mat with foamcore backing. Mat size: 22"H x 16"W Art size: 17.5"H x 12"W Ivan Opffer (Danish, 1897-1980) was born in Nyborg, Denmark, on June 4, 1897, to a family of Danish scholars and journalists. His brother was Emil Opffer, a Danish merchant seaman and journalist who was known for his relationship with American writer Hart Crane. Ivan was raised in Mexico City and New York, where his anarchist father was the editor of a radical Danish-language newspaper. His involvement in painting and drawing began at an early age. At a summer workshop, he met and studied drawing with Winslow Homer, then went on to study at the National Academy of Design and the Art Students League of New York. When the US entered World War I, Opffer was one of the members of the American Army Camouflage Corps, headed by Homer Saint-Gaudens (whose mother was a relative of Winslow Homer), the son of Augustus Saint-Gaudens. As a camoufleur, Opffer served with other artists and architects, some of whom became well-known, including Barry Faulkner, Sherry Edmundson Fry, Kimon Nicolaides, Robert Lawson, Abraham Rattner, Kerr Eby, and others. It was this same unit, while still in training in at Camp American University in Washington DC, that launched a camp newspaper called The Camoufleur. Only three issues were published before the unit’s deployment to France in late 1917. In the October 31 issue, a satirical portrait by Opffer of Homer Saint-Gaudens (titled “Our Boss”) was published on page 5. After the war, Opffer returned to New York, where he became known for his caricatures of leading Modern writers, among them James Joyce, Edgar Lee Masters, Siegfried Sassoon, George Bernard Shaw, Carl Sandburg, G.K. Chesterton, and Thomas Mann. In the years between the wars, Opffer married Betty à Beckett Chomley, and settled in Paris, where he was a student at the Academie Julliard. He also lived in London and Copenhagen, where his drawings were frequently published in newspapers and magazines. With the outbreak of World War II, he and his family returned to New York and lived in Greenwich Village. Among his friends in that era were William Butler Yeats, F. Scott and Zelda Fitzgerald...

The Retreat of Constantine is a Lithograph realized by Auguste Raffet in 1836. Signed on the plate. Good condition with foxing.

Watercolor on heavy paper realized by Carlo Ravagnan in 1960s. Hand signed in the lower right. Excellent condition. Carlo Ravagnan was born in Udine on September 4, 1911, died in ...

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 artwork is in simple black wood frames behind glass. The full signature is on the back of the drawing. Hanna Banaszczyk is a graduate of the Faculty of Painting and Drawing at ...

Twentieth Century Landscape with Nude - Cecilia in the grounds of a Villa at Lake Orta in Italy. Original Signed Watercolour of one of his most favourite Models. I have long since ...

Original watercolor and pen drawing by the African American artist Vincent D. Smith. Signed lower right and dated 1966. Under glass. Condition is very good. The artwork is framed in...

Medium: Watercolor on Paper Signature: Signed Lower Right Dimensions: 11.78" x 8.00"