Road Landscape Drawings and Watercolors

2021, Watercolor on paper

Gordon Noel Scott A.R.C.A 1914 - 2016 Street Scene Watercolour Image size: 14 x 10 ¼ inches (36 x 26cm) Contemporary style frame GORDON SCOTT EXHIBITION AT DARNLEY FINE ART 11th - 18th November 2017 Gordon Scott was trained at the RCA (1934-38) under Gilbert Spencer, Alan Sorrell and Charles Mahoney. A reserved and highly principled man, during WWII he was a conscientious objector, stationed at Bulford Camp on Salisbury Plain. His defined role is unknown, but during his time there he produced a number of sketches and paintings of soldiers...

This painting is part of our exhibition America Coast to Coast: Artists of the 1940s. Untitled (Cars), 1940, watercolor on paper, signed and dated lower right, 15 x 18 1/2 inches, ...

Three Old Oak by Cornelia Fitzroy [2022] original and hand signed by the artist Pastel on Paper Image size: H:23 cm x W:28 cm Complete Size of Unframed Work: H:23 cm x W:28 cm x D:0.5cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look Three Old Oaks is an original pastel drawing on paper by Cornelia Fitzroy. Cornelia FitzRoy ​is a Norfolk landscape plein air...

'Paris Booksellers Along the River Seine', gouache on paper (circa 1930s), by Lucien Génin. The used-book sellers (bouquinistes) you see along the Seine a...

This 19th-century watercolour by British artist Joseph Josiah Dodd (1809-1880) depicts Milan Cathedral in Italy. Rising like a Gothic behemoth, the majestic facade of Milan Cathedra...

- signed, dated and titled lower left - passepartout cut-out: 18,9 x 26,6 in

- signed, dated and titled lower left

This work is part of our exhibition - America Coast to Coast: Artists of the 1940s Untitled (Industrial Street), c. 1940s, watercolor on paper mounted on illustration board, estate...

Signed and dated (at lower right): BROSEN ’23, titled (at lower left): FLYER’S BOAT RENTAL, PROVINCETOWN A native New Yorker, Brosen has spent a lifetime wandering its streets, disco...

French Quarter Overhead by Sean Friloux depicts a bird's eye view of the French Quarter and a gathering second line procession. This watercolor is framed in a silver distressed frame.

Original watercolor and ink drawing on paper mounted to heavy cardstock of the Place du Tertre in Montmartre, Paris by the French artist , Jeanne Felicia Simon. Signed lower right i...

Watercolour on paper, signed bottom left Image size: 13 3/4 x 9 1/2 inches (35 x 24 cm) Mounted and framed The Generalife was a summer palace and country estate of the Nasrid rulers...

To see our other views of Oxford and Cambridge, 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 ...

To see our other views of Oxford and Cambridge, 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 ...

Watercolour on paper circa 1905 by French Impressionist painter Henri Duhem depicting a view of a canal - the surrounding buildings and bridge reflecting in the tranquil water as the...

Paris: City Winter Scene by Henri Miloch (1898-1979) watercolour and gouache painting with charcoal on artist's paper, unframed Sheet: 9.75 x 13.5 inches Intriguing painting by the...

The artwork is double matted with an antique style contemporary gold leaf gallery frame in fine condition. Overall framed measurements are 24 by 31 inches. Provenance: A Sarasota, Florida collector. Guy de Neyrac was born in France in 1900 and is widely known for his impressionistic watercolor and pen drawings of Paris...

A dynamic watercolour sketch of Keats House in Hampstead, by the well listed British artist Juliet Pannett MBE RSA (1911-2005). Signed to the lower right and inscribed to the reverse...

Two Men on a Street Early 20th Century w/c Fauvism Social Realism American Scene Note: We have three similar in style works from 1911 available now on 1stDibs. All are framed identi...

A bright and animated Parisian street view with a gendarme poised languidly to survey the street outside the Hotel de Clichy beside a flower vendor tending her colorful stall . A cha...

The artist: Henri Aime Duhem (1860-1941) French *see notes below, signed Title: The Old Chateau Medium: gouache on paper, loosely laid over card, unframed card: 9.75 x 12.75 i...

"Bourges, rue Porte-jaune". Pastel on paper signed lower left with initials, circa 1916, size: 31.5x23.5 cm Provenance: - Artist's studio, private collection, Bonhams sale in London ...

A watercolour on paper view of a canal in Venice by French artist Paule Soulé. The pain ting is signed bottom right and presented in a gilt and painted wood frame under glass. A cha...

To see more, scroll down to "More from this Seller" and below it click on "See all from this Seller." Ronald T Horley c.1905-? (active 1930s - 1960s) The Gateway to Cornwall Charcoal heightened with white 76 x 53 cm Signed and inscribed lower right 'Architect's Office, 83 Marlborough Place NW8 Marylebone'. Horley attended Radley School, joining in 1918. He painted architectural watercolours. This was produced whilst working for the GWR's own Architect's Office. The Great Western Railway commissioned a series of posters promoting train travel around the UK. This charcoal drawing of the Royal Albert Bridge at Saltash is the artist's original design for a poster encouraging rail travel to Devon and Cornwall. The bridge is known fondly as the 'Gateway to Cornwall'. The Royal Albert Bridge was designed by Isambard Kingdom Brunel...

Italy. Paper, mixed media, 33х24 сm

Greenwich Village NYC WPA Mid 20th Century American Scene Ashcan Modern Realism Alfred Mira (1900-1981) Greenwich Village NYC 14 x 17 inches Oil on board,...

A Summer Road is an original colored watercolor realized in 1997 by Armin Guther. Good conditions. Includes passepartout (50 x 60 cm). The artwork is hand-signed and dated on the l...

A very atmospheric watercolour capturing the light and shimmer of a Venetian canal. One of two views of Venice by the artist that I am offering - please see my other listing. Dennis Page (born 1926) Venice Balcony Signed Watercolour 8½ x 12 inches including the frame 16¾ x 21 inches with the frame Painter, mainly in watercolour who was born in Hampstead, London. He studied art at Harrow and the Central School of Arts & Crafts, where his tutors included Mervyn Peake...

Graphite and crayon in color with white heightening on cream wove paper, 13 1/2 x 12 1/4 inches (343 x 310 mm) (sheet). In good condition with uniform toning, handling creases, and lightly dog-eared corners. The building on the left is a hotel particulier in Paris' Marais neighborhood, the Hôtel Salé, which now houses the Musée Picasso.

Sheet from the artist's traveler album. This sketch was made live in November 2018 during expedition in remote areas of Muli-Tibet County in China with ...

Sheet from the artist's traveler album. This sketch was made live in November 2018 during expedition in remote areas of Muli-Tibet County in China with marker, white tempera and watercolor. Flattened, pasted and pressed onto a thick cardboard sheet. Signed in the lower right corner with the stylized letter "M" *** In 2021 Evgeniy Monahov...

"Montagne Sainte-Geneviève, Paris" - Watercolor Drawing of French Street Scene Vintage sketch of a 1920's Paris street scene by E. (Elizabeth) (Elisa...

Frank Duffield (British, 1908-1982) signed original gouache painting on board, unframed size: 10.75 x 15.5 inches condition: overall very good, minor wear to the edges as is normal f...

Jean La Forgue (French 1901-1975) watercolour on paper, unframed painting: 11 x 9 inches provenance: the artists estate, France condition: very good and...

It represents the "Petit Saconnex" square in Geneva, including the "café du commerce" and the "café du soleil". The work is signed and framed by René Zwahlen, painter and watercolour...

To see our other Architectural Drawings, scroll down to "More from this Seller" and below it click on "See all from this Seller" and then search. Edmund J Thring (1906 - 1985) Design for St Nicholas House, High Street, Bristol Gouache 46 x 54 cm Signed lower left and inscribed 'Alec F French & Partners, Architects, Bristol' (home to the Commercial Union Group and remodelled in 1959 by Alec French and partners). An architectural drawing of St Nicholas House, a 1930s Art Deco building on the corner of St Nicholas Street and High Street in the heart of Bristol. It was originally built as a banking headquarters, and is recognisable for its curved facade. Today St Nicholas House is a co-working space owned by The Office Group; the interiors have been remodelled in an Art Deco-inspired style, in honour of the building's architectural origins. Edmund J Thring was an architectural perspectivist who produced over 2,500 perspectives in his lifetime. He spent much of the Second WorId War in the Photographic Reconnaissance Interpretation Unit at RAF Nuneham Park, interpreting aerial photographs and making models. In 'A History of Architectural Model Making in Britain', David Lund...

A charming scene depicting figures walking a narrow European street towards a church. Unsigned. Presented in a dark wooden frame with a gilt slip. On paper.

Egg Tempera and Watercolour Pencil on Watercolour Paper, signed and dated '2011' bottom right Image size: 12 x 16 inches (30.5 x 40.5 cm) Mounted Exhibitions American Artists Abroad The Bennington Center For The Arts Bennington, Vermont Grey afternoon London light streams through the saddled glass...

Otto Eglau (1917 Berlin - 1988 Kampen), Raft Landscape in Sweden, 1956. Watercolor and ink on paper, 45 x 60 cm, signed in his own hand lower right with "Eglau" and dated "[19]56". - somewhat darkened Exposé as PDF - Temporary structures - About the artwork A wide river landscape stretches out before us, its horizon line running across the upper part of the picture, creating the impression of enormous depth. The depth is further extended by the dark tree trunks, most of which spill into the picture, and at the same time rhythmized by their different positions. This sequence of movements gives the landscape a strong dynamic moment. Indeed, the landscape seems to be "fleeing" from beneath us. To keep the gaze on the foreground alone requires a real visual effort. By looking at the foreground, we have already arrived at the background. Therefore, we cannot speak of pictorial grounds in the classical sense. Rather, we are confronted with a structurally rhythmic continuum of space, the dynamics of which are further accelerated by the cut tree trunks in the foreground and the upright trunks in the background, which function as target marks. Since the narrow strip of sky has the same white tonality as the ice, this area also fits seamlessly into the spatial structure, so that a deserted "structural landscape" unfolds before us. The structure, however, is not - as in the case of Piet Mondrian - completely abstract and thus something that exists independently of itself, removed from the time of natural space. The structures that Otto Eglau discovered in nature remain bound to it, which is why they exhibit a temporality that corresponds to the 'course of things'. Even if they correspond to an architecture of nature brought to representation, the structures are not substantial, but contingent. Artistically uncovered, they present themselves to Eglau at the very moment he captures them. In nature itself, these structures will never be repeated in the same way. Panta rhei - everything flows, even if the flow of time is frozen by his artistic representation and the image, for all its dynamism, radiates calm at the same time. "The structures I put behind things, and the lines that hold my paintings, are signs of transient life. They are random like the trace a wave leaves in the sand, blurred like the border between sea and land, ephemeral like the life of a shell I hold in my hand." - Otto Eglau About the artist After his release from captivity in 1947, Otto Eglau studied at the Hochschule für Bildende Künste in Berlin. He was a student of Oskar Nerlinger, Max Kaus and Wolf Hoffmann. From 1953 he taught free drawing for architects at the Technical University of Berlin. In the years that followed, Eglau undertook numerous study trips that took him to Scandinavia, the Arab world, the Far East and even Macau. During these travels he cultivated the technique of watercolour, which allowed him to work quickly in the open air, while retaining a strong painterly quality. Scholarships enabled Eglau to stay in Japan from 1962 to 1963 and in Naples in 1970. From 1969 to 1976 Eglau was professor of etching at the International Summer Academy of Fine Arts in Salzburg. Between 1983 and 1988 Eglau worked simultaneously in his Berlin studio at Lietzensee, which had its own printing press, and in his studio in Kampen on the island of Sylt. Otto Eglau's work has been shown in more than 100 solo exhibitions worldwide and in more than 120 group exhibitions. "I love the vastness of the island. The mudflats off Kampen are my treasure trove; here I discover new shapes and colors every day. Without Sylt, I would be like a fish without water." - Otto Eglau Selected Bibliography Hanns Theodor Flemming: Otto Eglau. Das graphische Werk, Flensburg 1966. Heinrich Seemann (Einführung): Otto Eglau. Inselskizzen, Hamburg 1982. Heinrich Seemann (Einführung): Otto Eglau. Japan, Nepal, Sylt. Aquarelle. Zeichen und Strukturen. Einführung von Heinrich Seemann, Hamburg 1986. Otto Eglau: Watt-Tagebuch. Ausgewählte Aquarelle aus den Skizzenbüchern Otto Eglaus. Kampen 1996. GERMAN VERSION Otto Eglau (1917 Berlin – 1988 Kampen), Floßlandschaft in Schweden, 1956. Aquarell und Tusche auf Papier, 45 x 60 cm, unten rechts eigenhändig in Blei mit „Eglau“ signiert und mit „[19]56“ datiert. - etwas nachgedunkelt Exposé als PDF - Temporäre Strukturen - zum Werk Vor uns erstreckt sich eine weite Flusslandschaft, deren Horizontline im oberen Bereich des Bildes verläuft, wodurch der Eindruck einer enormen Tiefenerstreckung entsteht. Die Tiefe wird von den dunklen, zumeist ins Bild hineinfluchtenden Baumstämmen zusätzlich geweitet und – durch ihre verschiedenartigen Lagen – dabei zugleich rhythmisiert. Durch diese Bewegungsabfolge weist die Landschaft ein starkes dynamisches Moment auf. Und tatsächlich stellt sich der Eindruck ein, als ob die Landschaft unter uns ‚hinwegfluchten‘ würde. Den Blick einzig im Vordergrund zu halten, verlangt regelrecht eine visuelle Anstrengung. Auf den Vordergrund schauend sind wir bereits im Hintergrund angelangt. Daher kann gar nicht von Bildgründen im klassischen Sinne gesprochen werden. Vielmehr steht hier ein strukturell rhythmisiertes Raumkontinuum vor Augen, dessen Dynamik von den angeschnittenen Baumstämmen vorne und den als Zielmarken fungierenden aufgerichteten Stämmen hinten zusätzlich beschleunigt wird. Da der schmale Himmelstreifen dieselbe Weißtonalität wie die Wasserlandschaft aufweist, fügt sich auch dieser Bereich bruchlos in das Raumgefüge ein, so dass sich vor uns eine menschenleere ‚Strukturlandschaft‘ ausbreitet. Die Struktur ist aber nicht – wie dies bei Piet Mondrian der Fall ist – gänzlich abstrakt und dadurch etwas eigenständig für sich Bestehendes, das der Zeit des Naturraums enthoben ist. Die von Otto Eglau in der Natur entdecken Strukturen bleiben an diese zurückgebunden, weshalb sie eine dem ‚Lauf der Dinge‘ entsprechende Temporalität aufweisen. Auch wenn sie einer zur Darstellung gebrachten Architektur der Natur entsprechen, sind die Strukturen nichts Substanzielles, sondern kontingent. Künstlerisch aufgedeckt, bieten sie sich Eglau in eben jenem Moment dar, den er festhält. In der Natur selbst werden diese Strukturen niemals in derselben Art wiederkehren. Panta rhei – alles fließt, auch wenn sich der Fluss der Zeit durch seine künstlerische Darstellung verfestigt hat, wodurch das Bild – trotz aller Dynamik – zugleich auch Ruhe ausstrahlt. „Die Strukturen, die ich hinter die Dinge setze, und die Linien, die meine Bilder halten, sind Zeichen des vergänglichen Lebens. Sie sind zufällig wie die Spur, die eine Welle im Sand hinterlässt, unscharf wie die Grenze zwischen Meer und Land, vergänglich wie das Leben einer Muschel, die ich in der Hand halte.“ - Otto Eglau zum Künstler Nach seiner Entlassung aus der Kriegsgefangenschaft 1947 nahm Otto Eglau ein Studium an der Hochschule für Bildende Künste in Berlin auf. Dort war wer Schüler von Oskar Nerlinger, Max Kaus und Wolf Hoffmann. Ab 1953 unterrichtete er freies Zeichnen für Architekten an der Technischen Universität Berlin. In den Folgejahren unternahm Eglau zahlreiche Studienreisen, die ihn nach Skandinavien, in den arabischen Raum, nach Fernost und bis nach Macau führten. Auf diesen Fahrten kultivierte er die Technik des Aquarellierens, die eine zügige Bildschöpfung im Freiraum erlaubt und dennoch eine stark malerische Qualität aufweist. Stipendien ermöglichten es Eglau, sich von 1962 bis 1963 in Japan aufzuhalten und 1970 länger in Neapel zu verweilen. Von 1969 bis 1976 hatte Eglau die Professur für Radierung an der Internationalen Sommerakademie für Bildende Kunst in Salzburg inne. Zwischen 1983 und 1988 war Eglau parallel in seinem Berliner Atelier am...

This watercolor by Charles Demetropoulos depicts a classical French Academic-style building which was designed in 1862 by architect William G. Preston as the new home of the Boston Society for Natural History, which had been founded in 1830. In the 1860’s, many of Boston’s cultural institutions relocated here to the Back Bay, the elegant residential district being built on the tidal marshes behind the city. When the museum moved here in 1863, the new building dominated the western edge of the landfill. The classical design reflected its role as a “temple of learning.” The building was later renovated into a women’s retail store known as Bonwit Teller and later became home to Louis Boston...

Aaron Bohrod (1907-1992) Listed Wisconsin WPA American Artist Original Watercolor Painting Hand signed "Load Limit Bridge" Dimensions: 24"x18" inches Aaron Bohrod (1907 – 1992) was an American artist best known for his trompe-l'œil still-life paintings. This one presages Pop Art with its depiction of road signs. Bohrod was born in Chicago in 1907, the son of an emigree Bessarabian-Jewish grocer. Bohrod studied at the School of the Art Institute of Chicago and the Art Students League of New York between 1926 and 1930. While at the Art Students League, Bohrod was influenced by John Sloan and chose themes that involved his own surroundings. He returned to Chicago in 1930 where he painted views of the city and its working class. During the Great Depression, Schwartz became an artist on the Federal Art Project (WPA) payroll painting murals. He was one of the seven WPA artists who contributed to a mural at Riccardo's, Schwartz (Music), Malvin Albright (Sculpture), Ivan Albright (Drama), Aaron Bohrod (Architecture), Rudolph Weisenborn (Literature), Vincent D’Agostino (Painting), and Ric Riccardo (Dance). Many well known Jewish and Immigrant artists worked for the Federal Art's Project (the New Deal) commonly referred to as the WPA, including Berenice Abbott, William Baziotes, William Gropper, Ilya Bolotowsky, Stuart Davis, Adolf Dehn, Ben Shahn and Louis Schanker. In 2002 Chicago philanthropist Seymour H. Persky acquired the murals for his personal collection. He eventually earned a Guggenheim Fellowships which permitted him to travel throughout the country, painting and recording the American scene. His early work won him widespread praise as an important social realist and regional painter and printmaker and his work was marketed through Associated American Artists in New York. Bohrod completed three commissioned murals for the Treasury Departments Section of Fine Arts in Illinois; Vandalia in 1935, Galesburg in 1938 and Clinton in 1939. During World War II, Bohrod worked as an artist; first in the Pacific for the United States Army Corps of Engineers' War Art Unit...

A Nestor Fruge watercolor of a French Quarter scene. Born in Bayou Lafourche, Louisiana in 1916, Nestor Hippoyle Fruge spent parts of his painting career ...

"Rue St. Marguerite" Montreal Street Scene in Watercolor, Pastel, and India Ink Vibrant drawing of Montreal, Canada, by Richard D. Wilson (Canadian, 1920-1994). A street scene of 1960s Montreal, complete with cars, people walking and crisscrossing telephone and power lines...

Village in Normandy by Paulémile Pissarro (1884 - 1972) Watercolour, ink and charcoal on paper 40 x 31.2 cm (15 ³/₄ x 12 ¹/₄ inches) Signed lower left, Paulémile Pissarro Executed ...

Represented by George Billis Gallery, NYC & LA -- Represented by George Billis Gallery, NY, Having worked from a studio in the Gowanus area of Brooklyn for two decades, Elizabeth O'...

This appears to be dated 1927. It came in with a piece dated 1929. A very early, rare work. Framed 22.5 x 18. Image 14.5 x 9 A great New York city street scene with an El train (elevated subway line) and architectural renderings of buildings. This is a wonderful piece by one of America's most treasured artists, Chaim Gross. Throughout his lifetime Gross has gone through tragedy and a real test of faith however, he has the unique ability to focus and direct his expression to the most joyful and beautiful works of art, such as the present lot. For more than sixty years Chaim Gross's art has expressed optimistic, affirming themes. His acrobats, cyclists, and mothers and children convey joyfulness, exuberance, love, and intimacy. This aspect of his work remained consistent with his Hasidic heritage, which teaches that "only in his childlike happiness is man nearest to God." He often used his creative abilities to explore and experiment with media. In his artwork he retains an optimistic philosophy, even when facing somber issues such as war, depression, and the Holocaust. Chaim Gross (March 17, 1904 – May 5, 1991) was an American sculptor and educator. Gross was born to a Jewish family in Austrian Galicia, in the village of Wolowa (now known as Mezhgorye, Ukraine), in the Carpathian Mountains. In 1911, his family moved to Kolomyia (which was annexed into the Ukrainian USSR in 1939 and became part of newly independent Ukraine in 1991). When World War I ended, Gross and brother Avrom-Leib went to Budapest to join their older siblings Sarah and Pinkas. Gross applied to and was accepted by the art academy in Budapest and studied under the painter Béla Uitz, though within a year a new regime under Miklos Horthy took over and attempted to expel all Jews and foreigners from the country. After being deported from Hungary, Gross began art studies at the Kunstgewerbeschule in Vienna, Austria shortly before immigrating to the United States in 1921. Gross's studies continued in the United States at the Beaux-Arts Institute of Design, where he studied with Elie Nadelman and others, and at the Art Students League of New York, with Robert Laurent. He also attended the Educational Alliance Art School, studying under Abbo Ostrowsky, at the same time as Moses Soyer and Peter Blume. In 1926 Gross began teaching at The Educational Alliance, and continued teaching there for the next 50 years. Louise Nevelson was among his students at the Alliance (in 1934), during the time she was transitioning from painting to sculpture. In the late 1920s and early 1930s he exhibited at the Salons of America exhibitions at the Anderson Galleries and, beginning in 1928, at the Whitney Studio Club. In 1929, Gross experimented with printmaking, and created an important group of 15 linocuts and lithographs of landscapes, New York City streets and parks, women in interiors, the circus, and vaudeville. The entire suite is now in the collection of the Philadelphia Museum of Art. Gross returned to the medium of printmaking in the 1960s, and produced approximately 200 works in the medium over the next two decades. In March 1932 Gross had his first solo exhibition at Gallery 144 in New York City. For a short time they represented Gross, as well as his friends Milton Avery, Moses Soyer, Ahron Ben-Shmuel and others. Gross was primarily a practitioner of the direct carving method, with the majority of his work being carved from wood. Other direct carvers in early 20th-century American art include William Zorach, Jose de Creeft, and Robert Laurent. Works by Chaim Gross can be found in major museums and private collections throughout the United States, with substantial holdings (27 sculptures) at the Hirshhorn Museum and Sculpture Garden. A key work from this era, now at the Smithsonian American Art Museum, is the 1932 birds-eye maple Acrobatic Performers, which is also only one and one quarter inch thick. In 1933 Gross joined the government's PWAP (Public Works of Art Project), which transitioned into the WPA (Works Progress Administration), which Gross worked for later in the 1930s. Under these programs Gross taught and demonstrated art, made sculptures that were placed in schools and public colleges, made work for Federal buildings including the Federal Trade Commission Building, and for the France Overseas and Finnish Buildings at the 1939 New York World's Fair. Gross was also recognized during these years with a silver medal at the Exposition universelle de 1937 in Paris, and in 1942, with a purchase prize at the Metropolitan Museum of Art's "Artists for Victory" exhibition for his wood sculpture of famed circus performer Lillian Leitzel. In 1949 Gross sketched Chaim Weizmann, President of Israel, at several functions in New York City where Weizmann was speaking, Gross completed the bust in bronze later that year. Gross returned to Israel for three months in 1951 (the second of many trips there in the postwar years) to paint a series of 40 watercolors of life in various cities. This series was exhibited at the Jewish Museum (Manhattan) in 1953. In the 1950s Gross began to make more bronze sculptures alongside his wood and stone pieces, and in 1957 and 1959 he traveled to Rome to work with famed bronze foundries including the Nicci foundry. At the end of the decade Gross was working primarily in bronze which allowed him to create open forms, large-scale works and of course, multiple casts. Gross's large-scale bronze The Family, donated to New York City in 1991 in honor of Mayor Ed Koch, and installed at the Bleecker Street Park at 11th street, is now a fixture of Greenwich Village. In 1959, a survey of Gross's sculpture in wood, stone, and bronze was featured in the exhibit Four American Expressionists curated by Lloyd Goodrich at the Whitney Museum of American Art, with work by Abraham Rattner, Doris Caesar, and Karl Knaths. In 1976, a selection from Gross's important collection of historic African sculpture, formed since the late 1930s, was exhibited at the Worcester Art Museum in the show The Sculptor's Eye: The African Art Collection of Mr. and Mrs. Chaim Gross. Gross was elected into the National Academy of Design as an Associate member, and became a full Academician in 1981. In 1984, he was inducted into the American Academy of Arts and Letters, with Jacob Lawrence and Lukas Foss. In the fall of 1991, Allen Ginsberg gave an important tribute to Gross at the American Academy of Arts and Letters, which is published in their Proceedings. In 1994, Forum Gallery, which now represents the Chaim Gross estate, held a memorial exhibition featuring a sixty-year survey of Gross's work. Gross was a professor of printmaking and sculpture at both the Educational Alliance and the New School for Social Research in New York City, as well as at the Brooklyn Museum Art School, the MoMA art school, the Art Student's League and the New Art School (which Gross ran briefly with Alexander Dobkin...

A delightful watercolour scene taking in the beautiful village of Wroxton, Oxfordshire. To the right stands All Saints church, where a nanny and child can be seen passing on the rais...

Ink on paper Liu Ziyu is a Chinese artist born in 1978 who lives and works in Beijing, China. He was graduated in 2020 from from the Stroganov Moscow State Academy of Arts and Indus...

A charming 20th Century watercolour street scene showing a darkened street with Tudor buildings on either side, possibly The Shambles in York or somewhere with similar architecture. ...

Landscape is an original drawing in pencil realized in the early 20th Century by Edmond Cuisinier (1857-1917). Monogrammed on the lower. Good conditions. The artwork is depicted t...

AUSTIN TAYLOR (1908-1992) Lambeth Palace and Parliament Signed l.r.: Austin; bear’s artist’s studio stamp and inscribed with title on the reverse Watercolour Unframed 24.5 by 33.5...

Heckingham, towards the barns by Cornelia Fitzroy [2022] Please note that insitu images are purely an indication of how a piece may look Heckingham, towards the barns is an original...

I made this sketch from nature while I was in one of the old and beautiful streets of Oxford. It was a gray day, sometimes it started to rain a little, and there were not many people...

Falmouth, 1944 (unknown Modern British Artist) Watercolour 46 x 30cm An evocative painting of Falmouth, the Cornish town shaped by its relationship to the sea. The artist leads us f...

A precisely drawn pastel study of Rupert St on a quiet Sunday morning. Pops of colour take you on a journey passed closed shops, drawing your gaze further towards the centre vanish p...

The artwork is a 22 x 30 inches, original watercolor painting of a cobblestone passage, adorned by brightly colored, overgrowing flowers. This stunning and charming townscape was painted by Peruvian artist...

Work on paper Brown wooden frame with glass pane 51.7 x 41 x 1.5 cm