Clay Drawings and Watercolor Paintings

Emperor Jahangir in his harem surrounded by lotus blossoms; symbols of paradise itself. Circa 1690. Gouache and ink with gold heightening on cream laid paper, 8 1/2 x 6 1/4 inches (...

Title: Scottish Highland Cattle Bulls Country Landscape Watercolour 1936 Artist: L W Rowe, 20th century Medium: watercolour on paper, unframed Size: 7 x 9.75 height x width in inches Signature: signed lower left, L W Rowe Date: dated lower right, 21-10-36 Stamped verso: no stamp visible from the images provided Provenance: private collection Condition: fair to good vintage condition. The sheet shows age toning, foxing, surface marks, handling wear and visible edge wear. There are losses, tears and old adhesive / mount marks to the reverse, particularly around the edges and corners. The painted image remains attractive, clear and highly decorative. Description: A charming signed watercolour by L W Rowe, dated 21-10-36, depicting two Highland cattle standing in a rural landscape. The cattle are shown in profile beneath bare trees, with soft fields, a pale path and distant countryside beyond. Their long horns, shaggy coats and strong silhouettes make them immediately recognisable as Highland cattle, giving the work excellent decorative and collectable appeal. The painting is especially attractive for its earthy palette and gentle pastoral atmosphere. The artist uses warm browns, ochres and deep umber tones to describe the animals’ coats, contrasting them with soft greens, muted greys and pale blue washes in the surrounding landscape. The darker Highland bull to the right gives the composition weight, while the warmer russet animal to the left introduces richness and texture. The handling is loose but observant, with the cattle carefully placed within a quiet countryside setting. The trees and background are painted with light, atmospheric washes, allowing the animals to remain the clear focus of the work. The date of 1936 gives the piece additional period interest, while the signed lower-left inscription helps distinguish it from a purely anonymous animal study. Highland cattle remain a highly popular subject in British and Scottish art, particularly for collectors drawn to rural landscapes, country house interiors, animal paintings, farming scenes and traditional countryside subjects. This watercolour would work especially well in a country home, kitchen, hallway, study, boot room or gallery wall of animal and landscape works. The sheet has visible age-related wear, including toning, foxing, edge losses, tears and old adhesive marks to the reverse, all consistent with a vintage work on paper. Despite this, the painted image remains appealing and decorative. Unframed and ready for sympathetic mounting, this is a characterful 1930s Highland cattle watercolour...

Emperor Jahangir depicted with his harem attendees aboard a pleasure cruise, the water filled with lotus blossoms; symbols of paradise itself. Circa 1750. Gouache and ink with gold ...

This untitled work by Rick Sindt was inspired by the works of Paul Cadmus. It is a small graphite drawing of two male nude figures with both of their faces somewhat obscured during an intimate moment. The graph lines often used by artist are still visible to distinguish between the photographic elements of a Polaroid photo and this actual drawing. The piece is framed in a white float frame measuring 12.5h x 10.5w inches. Rick Sindt Untitled - After Cadmus graphite on panel 10h x 8w in 25.40h x 20.32w cm Shifting the historic male gaze into a male-on-male gaze, this body of work anchors its exploration of queer culture in relationships and introspection. Beginning with a survey of several photo archives, I overwhelmingly encountered pictures that fit into two distinct categories: spectacular demonstrations or public displays of sexuality. All of these images were overtly political. Then, I began to find a subset of more intimate images. Typically, these were images submitted by loved ones or donated to foundations after someone’s death. These images depicted common, tender scenes. Working my way through these images, I reflected on D. A. Miller’s assertion that gay identity, to which we have entrusted our politics and ethics, stands in an essentially reductive relation to the queer desires on which it is based. And David Halperin’s argument that, “identity has become the preferred category for thinking about homosexuality. Moreover, it has been promoted at the direct expense of pleasure or feelings or subjectivity.” This left me asking the questions: how is queer culture transmitted if not genealogically? Is there a universal queer experience? What is queer sensibility and subjectivity and can it be visually represented? In the body of work submitted here, black and white graphite drawings maintain a Polaroid scale referencing the found historical photographs on which they are based, oil paintings provide isolated moments of feeling as they investigate questions about queer dispositions in a contemporary setting, and a few key sketches provide insight into how a few individual inquiries began. Rick Sindt b. 1990, Hastings, MN, EDUCATION 2013 North Park University, Chicago, IL - BFA Magna Cum Laude SOLO EXHIBITIONS 2016 Two Countries, Rogue Philanthropy, Chicago, IL 2013 Tides, Erosion or Catch, Pull, Recover; The-One-Right-Now, North Park University; Chicago, IL GROUP EXHIBITIONS 2016 Are We Not of Interest to Each Other, Uptown Arts Center, Chicago, IL Reinventing Ourselves From Another Point-of-View, Contemporary Gallery at Zhou B. Arts Center, Chicago, IL Collective: Process, Beans and Bagels, Chicago, IL 2015 Collective: for(a)ging, Hammond Art Center; Hammond, IN How We Make It, The Arts of Life, Chicago, IL Collective: One, Albany Park...

An illuminated page from a book likely in reference to palace life during Emperor Jahangir's reign over the Mughal Empire. circa 1750. Gouache and ink with heightening in gold on li...

"Knit" by Rick Sindt is a small graphite drawing of two male nude figures. The faces are somewhat obscured as we view this intimate moment. The graph lines often used by artist are...

Created in 1991, this expressive ink on paper by Menachem Gueffen depicts a seated female figure rendered through a bold and highly personal graphic language. Strong black lines defi...

A joyful scene of lighthearted merriment in the palace of Jangahir Mahal Agra Circa 1750. Gouache and ink with gold heightening on light weight cream laid paper, 8 1/4 x 6 inches (2...

0118.4 (Abstract Painting) Pigmented wax and ink on Shikoku paper - Unframed Working on paper has always been an important part of Tracey Adams daily practice. For almost thirty ye...

"Daniel #1" is a graphite drawing by Rick Sindt. The two figures, one naked, one fully clothed, are standing in a doorway inviting the viewer in. The graphite is reminiscent of the...

This untitled work by Rick Sindt is a small graphite drawing of two male figures with their backs to the viewer. Their focus is something out of our viewin...

An illuminated page from a book likely in reference to palace life during Emperor Jahangir's reign over the Mughal Empire. c 1690. Gouache and ink with heightening in gold on light ...