Crayon Drawings and Watercolor Paintings

This artwork "Untitled" 1998 is in an original pastel on paper by noted American artist Pia Stern, b. 1953. It is hand signed and dated in pencil by the artist. The artwork size is 16 x 8 inches, framed size is 26.25 x 17.5 inches. Custom framed in a wooden silver frame, with off white matting and bevel. It is in excellent condition. The frame is in fair condition. It has some small scratches Please see pictures. About the artist: Pia Stern spent her junior year abroad in Aix-en-Provence, the town in the south of France where Paul Cézanne lived and worked. There she took her first painting course and felt instantly at home with her instructors’ philosophical and visual perceptions of the world. Returning to UC Berkeley as a senior, she enrolled in the art program and was greatly influenced by several artists who were integral to the Bay Area Figurative Movement including Richard Diebenkorn, David Park, Joan Brown and most notably, Elmer Bischoff, with whom she worked very closely. Stern is primarily a process painter, and is known for her exploration of symbolic language. As stated by noted author and art critic Sister Wendy Beckett in "Contemporary Women Artists:" “Pia Stern…has an unusual power of transforming her ‘dreams’ into our own…The artist seeks out the great secrets of the heart and bodies them forth.” Using oil paints and drawing materials in an intuitive manner, she rarely approaches her work with a preconceived idea. She may put down a quick gestural stroke, a dab of color or a general shape, yet this is just a starting point for her. Like an archeologist, she approaches the canvas as if on a ‘dig’, adding and subtracting, waiting for the meaning of the piece to reveal itself through the mark making process. Her work is held in galleries, museums, public and private collections nationwide, and has been critically acclaimed in newspapers, books and journal reviews. She has a studio in Little Italy in San Diego, and her work is currently represented in San Francisco at the SFMOMA Artists Gallery and The Elins Eagles-Smith Gallery, and in Honolulu by Fine Arts Associates. EDUCATION 1978 University of California, Berkeley, M.F.A. 1977 University of California, Berkeley, M.A. 1975 University of California, Berkeley, B.A. SOLO EXHIBITIONS 2014 Blue Azul Gallery, La Jolla, CA 2008 The Lobby Gallery, 455 Market, San Francisco, CA 2007 Cheryl Pelavin Gallery, N.Y., N.Y. Palette Café Art...

An elegant coloured chalk portrait of Elizabeth Farren. Presented in an attractive oval frame with delicate running patterns. Signed 'Caste' to the lower right. After Sir Thomas Lawr...

Original magazine cover illustration for The Saturday Evening Post, published January 24, 1931. Pastel portrait features a fashionable young woman Artwork Dimensions: 39" x 30" Me...

Mint condition, vivid colors. Free US CONTINENTAL shipping, incl Europe and Asia. Antoine Calbet: A Master of Academic Realism in the Third Republic A Distinguished Journey Antoine...

'Standing Nude Study', pastel on art paper, by Louis Latapie (circa 1930). There is something very pure in the naked human body, but for some that purity can veer towards pruriency. ...

The portrait shows Mme Silvestre. Born in Paris, Silvestre was the daughter of Charles-Antoine Hérault and his wife Marie-Geneviève, who were her first teachers. In 1706 she married the painter Louis de Silvestre, moving with him in 1716 to Dresden. The couple's daughter Marie-Maximilienne became a pastellist. Silvestre died in Dresden, the year before her husband retired and returned to Paris. Her surviving pastels show the influence of Rosalba Carriera...

Alex (Cuban, b.1949). Indigenous Mexican Women, 1982. Pastel and charcoal on wove paper, sheet measures 23 x 33 inches; 31.5 x 41 inches framed. Excellent condition with no damage or...

Work on paper Workshop stamp on the back of the work

Bernardo Navarro Tomas (Cuba, 1977) 'New York City #10', 2017 mixed media on japanese paper 12.3 x 17 in. (31 x 43 cm.) ID: NAA-310 Hand-signed by author

From the estate of Jerry and Ruth Opper Abstract Expressionism Contour Drawing 1 c.1950s Ink and Pastel Contour Drawing 18" x 12", Unframed Signed in ink lo...

Firmado en la parte inferior por el artista Se presenta sin enmarcar la obra Medidas obra: 65 cm. de altura x 50 cm. de ancho Buen estado de conservación el de la obra ::::::::::...

Pity, June 4th by Celso Castro From the Duchándome Series Watercolor, ink, and pastel archival paper. Image size: 19.5 in. H x 13.75 in. W 2018 ____________ Undefined by medium, Celso Castro’s works each carry the presence of the artist’s hand through the transparency of their process. Castro’s oeuvre is strongly divided between his photomontage assemblies and watercolor paintings: the prior is marked by the labor-intensive deconstruction of portrait photographs and the latter, by the seemingly frenzied recreation of a past encounter rendered in the drips and scribbles of paint and ink. Both discriminating in what they reveal of the subject, his photomontage and watercolor portraits exude raw sexuality through the combination of Castro’s mark-making and gaze. Celso Castro’s work is a bare-bulb erotic photo...

Works on paper

The Anatomy of a Horse by Robert Ladou (French 1929-2014) original drawing stuck on card in black folder/ thick paper, unframed drawing: 11.75 x 18 inches overall size: 19.75 x 13 in...

Work on canvas Otto Vautier is a renowned Swiss painter, born in 1863 in Düsseldorf. He was influenced by a family of artists and developed his style dur...

This painting, executed in bright and rich shades, depicts the mythological scene of the "Abduction of Europa." The central figure is a red bull, symbolizing Zeus, who to...

Mid 19th century pastel drawing view of the Chapel Saint Pierre at Villefranche, with the harbour beyond, by British artist Hercules Brabazon Brabazon...

"The Farewell By Ulysse Butin (1838-1883)" Ulysse Butin, born in Saint-Quentin, into a poor family, had to earn his living early. An apprentice designer in a muslin factory, he took ...

This artwork is part of the series that Anna Pennati has dedicated to Homer's Odyssey, a subject very dear to her and one that she has tackled several times in the past. Paris of Tr...

Larry Zox Study for Scissors Jack Series, 1965 Mixed media and colored ink drawing on draft paper Hand signed and dated on lower right recto (front). Bears Forager House Collection s...

Work on paper

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...

Birds 50x40 cm

David Burliuk (Ukrainian, 1882-1967) Three figure on the beach (Hamptons, Long Island New York) Conte crayon drawing on paper. Hand signed lower left. Unframed Provenance: Bloomsbury Auctions David Davidovich Burliuk (Дави́д Дави́дович Бурлю́к; 1882-1967) was a Russian poet, artist and publicist of Ukrainian origin associated with the Futurist and Neo-Primitivist movements. Burliuk has been described as "the father of Russian Futurism." David Burliuk was born on 21 July 1882 in the village of Riabushky (near Lebedyn, Ukraine) in the Kharkov Governorate of the Russian Empire. Burliuk's family was artistically inclined; two of his brothers were talented artists as well, Nikolai and Volodimir Burliuk. The Burliuk family partly descended from Ukrainian Cossacks on their father's side, who held premier positions in the Hetmanate. His mother, Ludmyla Mikhnevich, was of ethnic Belarusian descent. From 1898 to 1904, he studied at Kazan and Odesa art schools, as well as at the Royal Academy in Munich. His exuberant, extroverted character was recognized by Anton Azhbe, his professor at the Munich Academy, who called Burliuk a "wonderful wild steppe horse". During a time of significant industrialization and political change, movements such as the famed Der Blaue Reiter, a group Burliuk associated with in 1912, while he was in Munich, emphasized a shift away from the classical styles of the past, prioritizing the innovations of the future. In 1907, he made contact with the Russian art world; he met and befriended Mikhail Larionov, and they are both credited as being major forces in bringing together the contemporary art world. In 1908, an exhibition with the group Zveno ("The Link") in Kiev was organized by David Burliuk together with Wladimir Baranoff-Rossine, Alexander Bogomazov, his brother Volodymyr (Wladimir) Burliuk and Aleksandra Exter. The exhibition was a flop, especially because they were all unknown painters. The Burliuks and Larionov left for the aforementioned brothers' home in Chernianka, also known as Hylea; it was during this stay that their work became more Avant-Garde. That autumn, while visiting Ekster, they organized an exhibition which took place in the street; it was a success, and enough money was raised to go to Moscow. In 1909, Burliuk painted a portrait of his future wife, Marussia, on a background of flowers and rocks...

A charming study of a classical Greek woman in a pastel palette. Unsigned. Presented in a gilt frame with a floral running pattern. On paper.

The Garden is a drawing on paper realized by an anonymous in the early 20th Century. Mixed media on paper. Fair condition with missing pieces of paper on the margins.

Work on paper Workshop stamp on the back of the work

Study for David and Goliath 1971 Color pastel on paper 10 x 10 inches (25.4 x 25.4 cm) This work is offered by CLAMP in New York City.

Hans Burkhardt 1904 - 1994 Hans Burkhardt was born in Basel, Switzerland in 1904, emigrating to New York in 1924. Upon his arrival to New York, he became associated with the pio...

Luis Miguel Valdes (Cuba, 1949) 'Gorda 4', 2007 acrylic on paper Canson 320 g. 21.5 x 15 in. (54.5 x 38 cm.) ID: 1D200715 Hand-signed by author ______________________________________...

Unsigned. Presented in a contemporary white frame. On paper.

Larry Zox Dexter's Choice, State II, ca. 1990 Mixed media, Watercolor pochoir, and Oil stick Wax, Water-Based Crayons, on heavy Arches museum watercolor rag paper with deckled edges 40 × 60 in 101.6 × 152.4 cm Edition 8/30 (unique variant) Frame included Measurements: Sheet: 40 inches (vertical) by 60 inches (horizontal) Frame: 42 inches x 62 inches x 1 inch Dexter's Choice, State # II is a unique, mixed media work from an edition of 30 unique variants done in pochoir, (25 stencils, 14 colors). Here, Zox uses watercolor instead of inks, which is applied to heavy 300 lb. watercolor paper. Although it is a multiple signed and numbered from the edition of 30, each work of art is unique because of how the paper receives the watercolor brush. In addition, this work is created like a mixed media painting because it has 11 lines added by hand with wax and water based crayons and oil sticks. The unique watercolor technique that Zox employed in making "Dexter's Choice" is documented in the textbook, "Screen Printing: Water Based Techniques,Roni Henning, NYIT ". Dexter's Choice was published by Images Gallery, and this work was acquired directly from the publisher before they sold out. This work is elegantly floated and framed in a white wood frame. Accompanied by gallery issued Certificate of Guarantee Larry Zox Biography: A PAINTER who played an essential role in the Color Field discourse of the 1960s and 1970s, Larry Zox is best known for his intensely and brilliantly colored geometric abstractions that question and violate symmetry.1 Zox stated in 1965: “Being contrary is the only way I can get at anything.” To Zox, this position was not necessarily arbitrary, but instead meant “responding to something in an examination of it [such as] using
a mechanical format with X number of possibilities.”2 What he sought was to “get at the specific character and quality of each painting in and for itself,” as James Monte stated in his introductory essay in the catalogue for Zox’s 1973–1974 solo exhibition at the Whitney Museum of American Art.3 Zox’s robust paintings reveal
a celebrated artist and master of composition who is explored and challenged the possibilities of Post-Painterly Abstraction and Minimalist pictorial conventions. Zox began to receive attention in the 1960s when he was included in several groundbreaking exhibitions of Color Field and Minimalist art, including Shape and Structure (1965), organized by Henry Geldzahler and Frank Stella for Tibor de Nagy, New York, and Systemic Painting (1966), organized by Lawrence Alloway for the Solomon R. Guggenheim Museum, New York. In 1973–1974, the Whitney’s solo exhibition of Zox’s work gave recognition to his significance in the art scene of the preceding decade. In the following year, he was represented in the inaugural exhibition of the Hirshhorn Museum and Sculpture Garden, Wahsington, DC, which acquired fourteen of his works.
 Zox was born in Des Moines, Iowa in 1937. He attended the University of Oklahoma and Drake University, Des Moines, Iowa, and then studied under George Grosz at the Des Moines Art Center. In 1958, Zox moved to New York, joining the downtown art scene. His studio on 20th Street became a gathering place for artists, jazz musicians, bikers, and boxers, and he occasionally sparred with visiting fighters. He later established a studio in East Hampton, a former black smithy used previously by Jackson Pollock. In his earliest works, such as Banner (1962) Zox created
collages consisting of pieces of painted paper stapled onto sheets of plywood. He then produced paintings that were illusions of collages, including both torn- and trued-edged forms, to which he added a wide range of strong hues that created ambiguous surfaces. In paintings such as For Jean (1963), he omitted the collage aspect of his work and applied flat color areas to create more complete statements of pure color and shape. He then replaced these torn and expressive edges with clean and impersonal lines that would define his work for the next decade. From 1962 to 1965, he produced his Rotation series, at first creating plywood and Plexiglas reliefs, which turned squares into dynamic polygons. He used these shapes in his paintings as well, employing white as a foil between colors to produce negative spaces that suggest that the colored shapes had only been cut out and laid down instead of painted. The New York Times in 1964 wrote of the works in show such as Rotation B (1964) and of the artist: “The artist is hip, cool, adventurous, not content to stay with the mere exercise of sensibility that one sees in smaller works.”4 In 1965, he began the Scissor Jack series, in which he arranged opposing triangular shapes with inverted Vs of bare canvas at their centers that threaten to split their compositions apart. In several works from this series, Zox was inspired by ancient Chinese water vessels. With a mathematical precision and a poetic license, Zox flattened the three dimensional object onto graph paper, and later translated his interpretation of the vessel’s lines onto canvas with masking tape, forming the structure of the painting. The Diamond Cut and Diamond Drill paintings...

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...

Eileen Lake Crayon on paper, early1930's Initialed in pencil lower right (see photo) Titled and annotated verso "Eileen Lake, early 1930s girlfriend" Note: Eileen Hall Lake was an American poet and Adolf Dehn's girlfriend in the early 1930s. Provenance: Estate of the artist By descent Adolf Dehn, American Watercolorist and Printmaker, 1895-1968 Adolf Dehn was an artist who achieved extraordinary artistic heights, but in a very particular artistic sphere—not so much in oil painting as in watercolor and lithography. Long recognized as a master by serious print collectors, he is gradually gaining recognition as a notable and influential figure in the overall history of American art. In the 19th century, with the invention of the rotary press, which made possible enormous print runs, and the development of the popular, mass-market magazines, newspaper and magazine illustration developed into an artistic realm of its own, often surprisingly divorced from the world of museums and art exhibitions, and today remains surprisingly overlooked by most art historians. Dehn in many regards was an outgrowth of this world, although in an unusual way, since as a young man he produced most of his illustrative work not for popular magazines, such as The Saturday Evening Post, but rather for radical journals, such as The Masses or The Liberator, or artistic “little magazines” such as The Dial. This background established the foundation of his outlook, and led later to his unique and distinctive contribution to American graphic art. If there’s a distinctive quality to his work, it was his skill in introducing unusual tonal and textural effects into his work, particularly in printmaking but also in watercolor. Jackson Pollock seems to have been one of many notable artists who were influenced by his techniques. Early Years, 1895-1922 For an artist largely remembered for scenes of Vienna and Paris, Adolf Dehn’s background was a surprising one. Born in Waterville, Minnesota, on November 22, 1895, Dehn was the descendent of farmers who had emigrated from Germany and homesteaded in the region, initially in a one-room log cabin with a dirt floor. Adolf’s father, Arthur Clark Dehn, was a hunter and trapper who took pride that he had no boss but himself, and who had little use for art. Indeed, during Adolf’s boyhood the walls of his bedroom and the space under his bed were filled with the pelts of mink, muskrats and skunks that his father had killed, skinned and stretched on drying boards. It was Adolf’s mother, Emilie Haas Dehn, a faithful member of the German Lutheran Evangelical Church, who encouraged his interest in art, which became apparent early in childhood. Both parents were ardent socialists, and supporters of Eugene Debs. In many ways Dehn’s later artistic achievement was clearly a reaction against the grinding rural poverty of his childhood. After graduating from high school in 1914 at the age of 19—an age not unusual in farming communities at the time, where school attendance was often irregular—Dehn attended the Minneapolis School of Art from 1914 to 1917, whose character followed strongly reflected that of its director, Munich-trained Robert Kohler, an artistic conservative but a social radical. There Dehn joined a group of students who went on to nationally significant careers, including Wanda Gag (later author of best-selling children’s books); John Flanagan (a sculptor notable for his use of direct carving) Harry Gottlieb (a notable social realist and member of the Woodstock Art Colony), Elizabeth Olds (a printmaker and administrator for the WPA), Arnold Blanch (landscape, still-life and figure painter, and member of the Woodstock group), Lucille Lunquist, later Lucille Blanch (also a gifted painter and founder of the Woodstock art colony), and Johan Egilrud (who stayed in Minneapolis and became a journalist and poet). Adolf became particularly close to Wanda Gag (1893-1946), with whom he established an intense but platonic relationship. Two years older than he, Gag was the daughter of a Bohemian artist and decorator, Anton Gag, who had died in 1908. After her husband died, Wanda’s mother, Lizzi Gag, became a helpless invalid, so Wanda was entrusted with the task of raising and financially supporting her six younger siblings. This endowed her with toughness and an independent streak, but nonetheless, when she met Dehn, Wanda was Victorian and conventional in her artistic taste and social values. Dehn was more socially radical, and introduced her to radical ideas about politics and free love, as well as to socialist publications such as The Masses and The Appeal to Reason. Never very interested in oil painting, in Minneapolis Dehn focused on caricature and illustration--often of a humorous or politically radical character. In 1917 both Dehn and Wanda won scholarships to attend the Art Students League, and consequently, in the fall of that year both moved to New York. Dehn’s art education, however, ended in the summer of 1918, shortly after the United States entered World War I, when he was drafted to serve in the U. S. Army. Unwilling to fight, he applied for status as a conscientious objector, but was first imprisoned, then segregated in semi-imprisonment with other Pacifists, until the war ended. The abuse he suffered at this time may well explain his later withdrawal from taking political stands or making art of an overtly political nature. After his release from the army, Dehn returned to New York where he fell under the spell of the radical cartoonist Boardman Robinson and produced his first lithographs. He also finally consummated his sexual relationship with Wanda Gag. The Years in Europe: 1922-1929 In September of 1921, however, he abruptly departed for Europe, arriving in Paris and then moving on to Vienna. There in the winter of 1922 he fell in love with a Russian dancer, Mura Zipperovitch, ending his seven-year relationship with Wanda Gag. He and Mura were married in 1926. It was also in Vienna that he produced his first notable artistic work. Influenced by European artists such as Jules Pascin and Georg Grosz, Dehn began producing drawings of people in cafes, streets, and parks, which while mostly executed in his studio, were based on spontaneous life studies and have an expressive, sometimes almost childishly wandering quality of line. The mixture of sophistication and naiveté in these drawings was new to American audiences, as was the raciness of their subject matter, which often featured pleasure-seekers, prostitutes or scenes of sexual dalliance, presented with a strong element of caricature. Some of these drawings contain an element of social criticism, reminiscent of that found in the work of George Grosz, although Dehn’s work tended to focus on humorous commentary rather than savagely attacking his subjects or making a partisan political statement. Many Americans, including some who had originally been supporters of Dehn such as Boardman Robinson, were shocked by these European drawings, although George Grocz (who became a friend of the artist in this period) admired them, and recognized that Dehn could also bring a new vision to America subject matter. As he told Dehn: “You will do things in America which haven’t been done, which need to be done, which only you can do—as far at least as I know America.” A key factor in Dehn’s artistic evolution at this time was his association with Scofield Thayer...

Abstract drawing on paper without frame

"I make quiet paintings in a noisy world. My work is an intimate meditation on humble objects and the detritus of studio life. I aim to promote a reengagement with the mundane while ...

Ashton, Ethel V. UNTITLED. Pastel on paper, circa 1930. Unsigned, but with the estate stamp, verso, as is typical for similar works by her. The image shows an African-American coupl...

Edith Isaac-Rose "Pastel Landscape Tree with Blue" 1964 Pastel on paper 11"x14" framed gold gallery frame 21.25"x1"x24" Signed and dated lower right in pencil. Came from a portfolio of her work. Born in Chicago in 1929, and neé Ganansky-Teitelbaum, she graduated from The Art Institute of Chicago in 1951 and moved to New York in 1959 where she lived ever since. Taking as her professional name her parents’ first names, Edith was a prolific artist working first as an abstract expressionist then turning in the 1980s to figurative, political work consisting of drawings, paintings, and embroideries which she called “Daily Rage”. She had been represented by the Phyllis Kind...

Vibrant large-scale pastel landscape of colorful reflections rippling on a calm lake with three small ducks and a boat by an unknown artist (American, 20th Century). Signed with the ...

Edith Isaac-Rose "Pastel Landscape Pond" 1963 Pastel on paper 13.5"x10" unframed Signed and dated lower left in pencil. Came from a portfolio of her work Born in Chicago in 1929, and neé Ganansky-Teitelbaum, she graduated from The Art Institute of Chicago in 1951 and moved to New York in 1959 where she lived ever since. Taking as her professional name her parents’ first names, Edith was a prolific artist working first as an abstract expressionist then turning in the 1980s to figurative, political work consisting of drawings, paintings, and embroideries which she called “Daily Rage”. She had been represented by the Phyllis Kind Gallery and her work is in the Hirshhorn Museum as well as numerous private collections. Edith, along with her partner of 35 years, Bea Kreloff, (1925-2016), founded Art Workshop International in 1981 where they held art and writing workshops in Assisi, Italy, Monhegan Island, Maine, and Puerto Escondido, Mexico. They were both actively involved with the anti-war movement, gay liberation...

Luis Miguel Valdes (Cuba, 1949) 'Gorda 1', 2007 ink on paper Canson 320 g. 21.5 x 15 in. (54.5 x 38 cm.) ID: 1D200712 Hand-signed by author __________________________________________...

This pastel drawing showcases a nude male figure in a style reminiscent of Modigliani. The elongated forms and muted colour palette create a sense of elegant melancholy. Part of a pa...

Donald Stacy "Red Sun" c.1950s Gouache and oil pastel on paper 13.75" x 17" unframed Unsigned Came from artist's estate *Custom framing available for additional charge. Please expect framing time between 3-5 weeks. Donald Stacy (1925-2008) New Jersey Studied: Newark School of Fine Art The Art Students League...

Dzidra Bauma (1930) Dzidra Bauma works in watercolor technique. She paint figural compositions, portraits, landscapes, flowers and still life. She is one of the most productive wate...

Work on watercolor paper

"I make quiet paintings in a noisy world. My work is an intimate meditation on humble objects and the detritus of studio life. I aim to promote a reengagement with the mundane while ...

"I make quiet paintings in a noisy world. My work is an intimate meditation on humble objects and the detritus of studio life. I aim to promote a reengagement with the mundane while ...

Title : First Floor Biogram Materials : Acrylic, gouache, oil pastel, marker, charcoal, graphite, and conté crayon on paper Date : 2018 Dimensions : 24 x 18 x .1 in. Description : ...

Portrait of a young girl in a lilac dress with a black bow. Circa 1860. Signature below right, partially visible. Size with frame 59cm x 49cm Size without frame 33cm x 24cm The portrait depicts a young girl with an elegant hairstyle, her hair carefully tied back. Dressed in the fashion of the 1860s, her light lilac dress reflects the synthetic aniline colors, a novelty in fashion at the time. A black bow at the neck and slightly black straps accentuate her attire. Represented at mid-length, with a mysterious and melancholic gaze, suggesting a mourning endured over a year ago. The portrait, executed in pastels, chalks, and charcoals on paper, highlights the mastery and speed of the artist's execution. Framed in a vintage oval frame...

Wallpaper Sketch by Josine Vignon (French 1922-2022) pastel/watercolor paper, unframed painting: 19 x 25 inches good condition provenance: from the...

Unsigned. Presented in a white contemporary frame. On paper.

Unsigned. Presented in a contemporary white frame. On paper.

This artwork "Untitled #5" c.1970 is a colors pastel and crayon on thick paper by American artist Jerry Opper, 1924-2014. It is hand signed in pencil at the lower right corner by the artist. The image size is 22 x 17 inches, sheet size is 24 x 19 inches. It is in excellent condition, there are pastel marks on the margin all around the artwork and also on the back, see picture #1. About the artist: Jerry Opper was born in Cleveland, Ohio, on September 5, 1924. He moved to Los Angeles with his family in 1933. After graduating from Hollywood High School, he worked in movie studios and attended art classes at Chouinard Art Institute. In May 1942, Opper was drafted into the army and was then able to study at the Colorado Springs Fine Arts Center while his outfit was stationed in Colorado. Later he was sent to Guam and was discharged in December 1945. Opper returned to Chouinard and his work in movie studios until 1947, when he moved to San Francisco. He enrolled as a full-time student at the California School of Fine Arts (now SFAI) and received his diploma in June of 1950. In 1948, Opper met his wife Gertrud Ruth Friedmann, daughter of artist Gustav Friedmann, whose works are also in the Lost Art Salon collection. It was love at first sight and a few weeks after their first encounter at the Black Cat in San Francisco's North Beach, they got married and enjoyed a passionate, life-long romance. Shortly after he finished school, Opper worked briefly as a decorator’s assistant and then started his career as a commercial artist, working for several firms such as Fibreboard, Beatrix Food and Precision. Working full-time and dedicating himself to having a rich family life occupied most of Opper's time, but he continued to be creative. He was above all a family man with the pride of having raised two exceptional daughters, Erika and Jody. Year after year, Opper would painstakingly craft their Halloween costumes...

Luis Miguel Valdes (Cuba, 1949) 'De la serie La Siempre Habana 69', 1994 pastel, acrylic on paper 11.9 x 15.8 in. (30 x 40 cm.) ID: 1D199404 Hand-signed by author ___________________...

Sold without the frame. Léon Laurent Galand is a French painter and illustrator born April 18, 1872 in Montpellier (Hérault) and died November 4, 1960 in Clichy (Hauts-de-Seine). L...

Here for your consideration is an original mixed media fashion illustration by the world renowned fashion artist, Kenneth Paul Block. Signed with initials bottom right. Circa 1965. ...

Portrait of a Woman in a White Dress - Pastel on Paper Delicate drawing of a woman in a white dress by Palo Alto artist Marilyn Thompson (American, 1927-2015). Acquired with a colle...

Donald Stacy "Mark" c.1950s Oil pastel and gouache paint on paper 14x17" unframed Unsigned Came from artist's estate Donald Stacy (1925-2011) New Jersey Studied: Newark School of ...

Jean-Franck Baudoin (1870 - 1961) was one of the last great French post impressionist painters."Jean-Franck Baudoin was one of the last great French post-impressionist painters. He g...

Original conte crayon on paper. Dated "12.84" lower margin. Provenance: Barbara Gladstone Gallery, New York. Artwork size 12.5 x 9.5 inches. Fram...