Graphite Drawings and Watercolor Paintings

Academic life drawing of male nude with charcoal and graphite by Mark Beard graphite, Conte crayon and charcoal on Arches paper 30 x 19.5 inches unframed Signed, lower left Strong f...

The image is an original drawing of Wile E. Coyote and the Road Runner by Virgil Ross. Graphite, colored pencil on animation paper. Untrimmed. Circa 1990. Condition is excellent. P...

Brookdale, New Jersey Graphite on paper, 1922 Signed with the artist's initials l.l., and dated 1922 (see photo) Annotated "Brookdale" front and back of sheet Condition: Excellent Ar...

Standing Male Nude (recto) Study of the Head of the Standing Male Nude (verso) Unsigned Provenance: Estate of the artist Helen Chase Storm (the artist's daughter) Jackson Chase Storm (the artist's grandson) Baker-Pisano Collection (the author of the William Merritt Chase Catalog Raisonne Project) References And Exhibitions: Pisano D8, reproduced p. 183 Rare. Chase did relatively few drawings, probably no more than 150 in total, according to the catalogue raisonne. William Merritt Chase (1840-2016) Born in Nineveh, Indiana Died New York, New York In 1883 Chase was involved in the organization of an exhibition to help raise funds for a pedestal for the Statute of Liberty...

Richard McLean ‘Cowboy, 1968’ Framed 30 x 27 inches Pencil on paper 27½” x 22½ inches Richard McLean is one of the most highly regarded American photo-realists. His paintings l...

Artist: Ian Hornak (1944-2002) Title: Renaissance Hand Figure Study Year: circa 1963 Medium: Original drawing on vélin Strathmore paper Size: 18 x 23 inches Condition: Good Provenanc...

John Rabone Harvey ( 1966 - 1922) graphic and chalk deep green artist paper , unframed artist paper : 7 x 5.5 inches Provenance: private collection Condition: very good condition Ha...

Standing Male Nude, Arms upraised (Kouros) Graphite on wove paper, c. 1930 Signed lower right (see photo) Possibly exhibited in May 8-June 1,1973 at Alan Stone Gallery entitled Erotica, which lists Lachaise as one of the artists exhibited. Part of small group of drawings of the male nude, done late in the artist's life, many of which are in museums (MMA, FAMSF, Whitney, Yale, Princeton). Almost identical to the Lachaise drawing in the Fine Arts Museums of San Francisco, which is the same size and depicts the same model. (see photo) Very similar to the smaller Lachaise drawing in the Whitney Museum of American Art (Accession number 32.2). The Metropolitan Museum has a Lachaise male nude drawing with one arm upraised (Accession Number: 68.91.1) Provenance: Alan Stone Gallery, New York Alan Stone Projects, New York (see photo of label) Condition: excellent Archival framing with OP3 Acrylic for UV protection 22K gold leaf frame Image size: 17 3/4 x 12 inches Frame size: 26 1/2 x 20 1/2 inches Regarding Alan Stone Gallery: "Founded in 1960 by visionary connoisseur and dealer Allan Stone (1932 – 2006), the gallery known today as Allan Stone Projects has been admired for over half a century. Celebrated for his eclectic approach and early advocacy of pivotal artists of the 20th Century, Allan Stone was a leading authority on Abstract Expressionism, the New York dealer for Wayne Thiebaud for over forty years, and a passionate collector of Willem de Kooning, Franz Kline, Arshile Gorky, Joseph Cornell, John Graham and John Chamberlain. He also promoted and collected the work of a younger generation of artists, including Robert Arneson, Jack Whitten, Robert Mallary, Lorraine Shemesh...

My 80's Hart "Token 5" 2019, gouache, acrylic, graphite, panel, purple, green, blue

Created circa 1955 by Victor Di Gesu (American, 1914-1988) and stamped, verso, with Victor di Gesu estate stamp. Winner of the Prix Othon Friesz, Victor di Gesu first attended the L...

Wallace Putnam, American (1899 -1989) - Portrait of a Woman, Year: circa 1960, Medium: Graphite on Paper, signed in pencil lower left, Image Size: 10 x 8.5 inches, Size: 13 x 10 ...

Abstract geometric painting with a cool toned palette of green, blue, and grey with accents of black and white against a sea foam green colored acrylic wash background "Blue and Grey Green Plan" made by Hudson Valley artists, Donise English, in 2022 Graphite, colored pencil, and acrylic painting on vellum 24 x 18 inches unframed, 31 x 25 x 1.5 with an 8-ply white mat, non-glare plexi, and simple black moulding Signed, verso Excellent condition and ready to hang This abstract geometric painting on vellum was made by Hudson Valley based artist, Donise English, in 2022. The composition begins with a blue green toned background of acrylic wash. A grid of box-like patterns in sky blue, green, grey, and black with white line work are stacked to create an irregular shape or an "imagined city grid", says the artist. The painting on vellum is complemented by a simple black frame with an 8-ply white mat, non-glare plexi, and wire backing. It's in excellent condition and ready to hang. About the artist: Donise English emphasizes lines, grids, and fields of subtle color to evoke imagined places and invented structures. While precise lines and straight angles are often associated with themes in architecture and urban planning designs, English conveys a geometric motif guided by intuition rather than a ruler. Variations on grids retain flaws and unmistakable traces of the artists’ hand; her style of draftsmanship shies away from intellectualism and instead makes her compositions feel very personal. A central checkerboard formation floats over a ground of pastel color or washes of grey or cream. Each design is intensely intricate, incorporating gouache, acrylic, pen, graphite, ink and colored pencil. The artist recently retired from her decades career teaching at Marist College and is now devoted full time to her art making. Artist Statement: My work is about the way visual diagrams present information that describes how something is made or the way it is. I am interested in drawing and collaging multiple layers of information that refer abstractly to maps, architectural drawings and blueprints or patterns and structures found in such things as roller coasters, power lines and fences. I use gouache and collaged paper in a series of layers that are a visual and ideological response to the previous layer to define my pictorial space. For each piece I create a set of rules to follow about the use of a limited palette, a grid format, opacity of paper and whether a piece may include curving lines or maintain a rectilinear structure. Artist CV: EDUCATION Master of Fine Arts in Painting Bard College 1986 Bachelor of Science in Art History State University College at New Paltz 1977 Additional Study: New York Studio School (Drawing Marathons) Columbia University, School of Architecture Women’s Studio Workshop TEACHING Professor of Studio Art, Department of Art and Art History, Marist College, Poughkeepsie, NY Coordinator, Interior Design Program, Florence, Italy campus 1992-present AWARDS NYFA Fellowship in Painting 2018 Invitational Award for Outstanding Contemporary Talent, University of Bridgeport, CT 2000 Purchase Prize, “11th National Juried Exhibition” College of Notre Dame of Maryland, Baltimore 1999 First Prize, “Women in the Visual Arts ‘95” Erector Square Gallery, New Haven, CT 1995 Joseph A. Cain Memorial Purchase Award for Sculpture Del Mar College, Corpus Christi, TX 1994 Honorable Mention, “National Juried Exhibition” University of Bridgeport, CT 1993 Individual Artists Fellowship in Sculpture Dutchess Arts Fund 1992/93 Tallix, Morris, Singer Internship in Sculpture Tallix Foundry, Beacon, NY 1990/91 MEMBERSHIP Royal British Society of Sculptors SELECTED JURIED/INVITATIONAL EXHIBITIONS 2020 “edu: Art Faculty of the Hudson Valley”, Hudson Valley MOCA, Peekskill, NY 2019 “Contemporary Abstraction”, Carrie Haddad Gallery, Hudson, NY “Mixed Media”, SITE Gallery, Brooklyn, NY 2018 “JuxtaPositions”, The Painting Center, New York, NY “Peculiar Rarities”, Carrie Haddad Gallery, Hudson, NY 2017 “Interlock: Color and Contrast in Abstraction”, Carrie Haddad Gallery, Hudson, NY “Donise English: Encaustics”, Catskill Art Society, Livingston Manor, NY 2016 “Let’s Stay in Touch”, Howard County Center for the Arts, Ellicott City, MD “Under, Over, After Over”, Vassar College, Poughkeepsie, NY 2015 “Off the Grid”, Arts & Culture Program, Albany International Airport, Albany, NY “Gridspace”, KMOCA, Kingston, NY “Abstraction”, Carrie Haddad Gallery, Hudson, NY “Assuming Identity”, NY Institute of Technology, New York, NY 2013 “Modern Artists”, Carrie Haddad Gallery, Hudson, NY “Artists of the Mohawk-Hudson Region”, The Hyde Collection, Glens Falls, NY Stone Canoe/Community Folk Art Center, Syracuse, NY 2012 New York Institute of Technology, New York, NY “Contemporary Painters (Who Just Happen To Be Women)”, Carrie Haddad Gallery, Hudson, NY “Strange Glue: Collage at 100”, Cambridge School, Weston, MA “Dear Mother Nature”, Dorsky Museum, SUNY New Paltz, NY “Fresher Paint”, Rockland Center for the Arts, Nyack, NY Courthouse Gallery, Lake George Arts Project, Lake George, NY 2011 “Process+Content: Donise English”, Vassar College, Poughkeepsie, NY “Donise English-Paintings”,Orange County Community College, Newburgh, NY “Gender Matters/Matters of Gender”, Freedman Gallery, Albright College, Reading, PA 2010 Carrie Haddad Gallery, Hudson, NY “Encaustics: Wax and Image”, Westchester Community College, White Plains, NY “Dots, Lines and Figures”, Carrie Haddad Gallery, Hudson, NY “Spring Awakening”, NY Institute of Technology, New York, NY “Clay City Dreams”, NY Institute of Technology, New York, NY “Texture,Pattern, Fragment”, Krause Gallery, Moses Brown School, Providence, RI 2009 “Collage”, NY Institute of Technology, New York, NY “Working in Wax”, Bedford Gallery, Walnut Creek, CA “Encaustic 2009”, College of New Rochelle, NY “Three Artists”, Carrie Haddad Gallery, Hudson, NY “Convergence: The Human Experience”,Howard County Center for the Arts, MD 2008 “Suckers and Biters: Love, Lollipops, and Exquisite Corpse” Chashama Gallery, New York, NY Carrie Haddad Gallery, Hudson NY 2007 “Patterns and Light”, Blue Hill Gallery, Blue Hill, ME “Suckers and Biters”, AG Gallery, Brooklyn, NY 2006 “100 Artists, 100 Watercolors”, Jeannie Freilich Fine Art, New York, NY “On/Of Paper”,Kirkland Art Center, Clinton, NY “The Love Show”, Manchester Community College, Manchester, CT 2005 The Soap Factory, Minneapolis, MN “Small Tales”, Valdosta State University, Georgia National Juried Exhibition,Art Institute and Gallery Salisbury, MD, Juror: Stephen Haller “Greed, Envy, Jealousy, Fear”, TSL Warehouse, Hudson, NY 2004 “Women in the Middle: Borders, Barriers, Intersections” University of Wisconsin-Milwaukee “Girl Art Now”,Hera Gallery, Wakefield, RI 3 Person Exhibition, Monterey Peninsula College, Monterey, CA “The Feminine Eye”, Bradley University, Peoria, IL “Women Painting Women”, McNeese State University, Lake Charles, LA “Thought Patterns”, Kent Place Gallery, Summit, NJ “Surface, Matter and Artifice”, Dutchess Community College Art Gallery Poughkeepsie, NY 2003 “Beefcake/Cheesecake”,Orange County Center for Contemporary Art, Santa Ana, CA,Juror: Jamie Wilson, Curator Halpert Bienniel, Appalachian State University, Boone, NC Juror: Jeff Fleming, Senior Curator, Des Moines Art Center “The Great White Oak”, Garrison Art Center, Garrison, NY Carrie Haddad Gallery, Hudson, NY 2002 “Cat Calls”, Red Clay Arts, Brooklyn “Hudson Valley Regional”, SUNY New Paltz Juror: Sydney Jenkins, Director, Ramapo College Art Galleries 2001 One-Person Exhibition, Davis and Hall Gallery, Hudson, NY “Beyond the Surface”, Womanmade Gallery, Chicago One-Person Exhibition, Garrison Art Center, Garrison, NY 2000 “Vision 2000...

Abstract modernist style still life graphite and acrylic painting inspired by Giorgio Morandi's bottle still life paintings "Morandi II” by Hudson Valley artist, David Dew Bruner, m...

James Childs (1945-2020) 1975 Inscribed, l.l. Graphite on paper 28 x 17.75 inches  $3,125

Figurative abstract cubist style drawing in an antique wood frame, inspired by artwork by Graham Sutherland “Sutherland Project VII” by Hudson Valley artist, David Dew Bruner, made ...

John Koch, American (1909 - 1978) - Interior Bedroom Scene, Year: circa 1970, Medium: Graphite on Paper, signed in pencil lower right, Size: 17 x 11 in. (43.18 x 27.94 cm), Frame ...

Original watercolor with graphite tracings by the well known German artist, Peter Von Halm. Signed in pencil lower right. Condition is good. Several tiny foxing spots with small areas of mild wrinkles on the outer corners. Matted but not framed. He was the son of an innkeeper and brewer. Initially, he wanted to become an architect and, in pursuit of that goal, attended the Technische Universität Darmstadt. After 1875, he studied copper engraving with Johann Leonhard Raab and general art subjects with Ludwig von Löfftz, at the Munich Academy. From 1883 to 1885, he lived in Berlin at the invitation of his friend, Karl Stauffer-Bern, where he created graphic versions of the Old Masters for Wilhelm von Bode...

Blizzard in Woods Graphite on paper, c. 1945-1963 Unsigned Provenance: Sid Deutsch Gallery, New York Annotated with notes for completing the drawing. Deutsch Gallery has handled Bur...

graphite, conte crayon and charcoal on Arches paper 30 x 22 inches, 37.5 x 26 inches framed Custom frame with Natural wood molding, white 8ply mat, AR non glare glass Signed BEARD 20...

PETER HALLEY 6/21/96.9, 1998 Graphite and ink drawing Hand-signed by artist, signed and dated in graphite lower right front; lower left front bears title: 6/21/96.9 Frame included: elegantly matted and framed in a hand made museum frame with UV plexiglass signed and dated in graphite lower right front; lower left front bears title: 6/21/96.9 This is a unique work Frame included: elegantly floated and framed in a museum quality hand made white wood frame under UV plexiglass Measurements: Framed 16.5 inches vertical by 13 inches horizontal by 1.5 inches Artwork (visible) 10 inches vertical by 8 inches horizontal Peter Halley Biography Peter Halley was born in 1953 in New York. He began his formal training at Phillips Academy in Andover, Massachusetts, from which he graduated in 1971. During that time, Halley read Josef Albers’s Interaction of Color (1981), which would influence him throughout his career. From 1973 to 1974 Halley lived in New Orleans, where he absorbed the vibrant cultural influences of the city, began using commercial materials in his art, and first became acquainted with the writings of earthwork artist Robert Smithson. In 1975 the artist graduated from Yale University, New Haven, with a degree in art history. After Yale, Halley returned to New Orleans, where he received an MFA in painting from the University of New Orleans in 1978. He had his first solo exhibition at the Contemporary Art Center, New Orleans, that same year. In 1978 Halley spent a semester teaching art at the University of Louisiana, Lafayette. He has continued to teach throughout his career. In 1980, Halley moved back to New York and had his first solo exhibition in the city at PS122 Gallery. At this time, Halley was drawn to the pop themes and social issues addressed in New Wave music. Inspired by New York’s intense urban environment, Halley set out to use the language of geometric abstraction to describe the actual geometricized space around him. He also began his iconic use of fluorescent Day-Glo paint. In 1984, Halley started to exhibit with the International With Monument gallery, becoming closely associated with the organization and its artists, who exhibited conceptually rigorous work in a market-savvy, coolly presented space that stood in stark contrast to the bohemian, Neo-Expressionist flair of the East Village art scene at the time. In 1986, an exhibition of four artists from International With Monument at the Sonnabend Gallery in New York heralded the group’s growing success. By the late 1980s, Halley was exhibiting with prominent galleries in the United States and Europe. In 1989, an exhibition of his paintings traveled to the Museum Haus Esters, Krefeld, Germany; Maison de la culture et de la communication de Saint-Étienne, France; and Institute of Contemporary Arts, London. From 1991 to 1992, a retrospective toured Europe, with presentations at the CAPC Musée d’art contemporain de Bordeaux, France; Musée d’art contemporain, Lausanne, Switzerland; Museo nacional centro de arte Reina Sofía, Madrid; and Stedelijk Museum, Amsterdam. In 1992, the Des Moines Art Center hosted his first solo exhibition at a U.S. museum. While developing his visual language, Halley became interested in French post-structuralist writers, including Jean Baudrillard, Guy Debord, Michel Foucault, and Paul Virillio, all of whom shared his concern with the character of social spaces in a post-industrial society. In 1981, he published his first essay “Beat, Minimalism, New Wave, and Robert Smithson” in Arts, a New York–based magazine that would publish eight of his essays before the decade’s end. Halley’s writings became the basis for Neo-Geometric Conceptualism (also known as Neo-Geo), the offshoot of Neo-Conceptualism associated with the work of Ashley Bickerton, Halley, and Jeff Koons. In 1988, the artist’s writings were anthologized in Collected Essays, 1981–1987, and again in 1997 in a second anthology, Recent Essays, 1990–1996. In the mid-1990s, Halley began to produce site-specific installations for museums, galleries, and public spaces. These characteristically brought together a range of imagery and mediums, including paintings, wall-size flowcharts, and digitally generated wallpaper prints. Halley has executed permanent installations at the Dallas/Fort Worth International Airport, Texas, and the Gallatin School of Individualized Study at New York University. In 2011, his installation of digital prints Judgment Day...

In this drawing, Milwaukee-based artist Joan Dvorsky presents a drawing after a sketch by Edgar Degas. Degas' original drawing was a study for an 1863 painting entitled 'Les malheurs...

This layered paper collage and drawing artwork titled "Mass Study III" is an original artwork by Seth Clark made of paper, charcoal, pastel, graphite, an...

James Van Fossan's "Back At The Stables (II)" (2024) is an original handmade charcoal and graphite drawing on paper that depicts a cowboy about to lean against a sawhorse. James Va...

Charles Hinman Untitled Geometric Abstraction (Hand Signed), 1980 Pastel & Graphite painting on Paper Signed and dedicated to "Michael and Rene" in graphite by the artist on the fron...

Abstract cubist style still life graphite and acrylic painting inspired by Giorgio Morandi's bottle still life paintings "Morandi 12” by Hudson Valley artist, David Dew Bruner, made...

Graphite and grayish ink wash on bluish wove paper, 7 x 10 1/2 inches (177 x 265 mm) (matrix). Scattered surface soiling, adhesive residue, dog-eared corners, and scattered edge tears along left margin, outside of image area. Paper is braced on the verso with two pages from a mid 19th century book with illustrations by C.Perrin. One image depicts a scene of a group of soldiers representing the Holy Roman Empire...

Ellsworth Kelly Drawing of Cyclamen III, and collage for Conques (Untitled), exhibited at the Johnson Museum of Art, Cornell University, 1987 Graphite drawing, and mixed media collag...

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.

Portrait of woman on a light blue pattern dotted with white daisies "Angela" by Ransome 2023 graphite, acrylic and collage on panel 8 x 8 x 2 inches, unframed Piece can be hung attra...

Original gouache and watercolor on brown archival paper of a standing crow in profile. Signed and dated lower right. Condition is good to very good. Colors of the bird are strong a...

Raro studio dell'artista Preraffaellita Frederick Sandys,Studio per l’opera Portrait of a Lady,( Anne Simms Reeve of Brancaster Hall, Norfolk) proprie...

A ca. 1945, Cubist black & white graphite drawing of fruit by artist Illinois and Michigan artist Stanley Bielecky. Image size: 4" x 5". Archivally matted to: 13 1/4" x 16". Stanley Bielecky was an Indiana artist who painted the American scene, from the factories and workers around East Chicago to the bucolic settings of Mackinac Island...

Waves is a unique graphite drawing on linen canvas by contemporary artist Franco Salas Borquez, dimensions are 118 × 91 cm (46.5 × 35.8 in). Dimensions of the framed artwork are 120 ...

This architectural wall-hanging artwork titled "In Isolation Series VI" is an original artwork by Seth Clark made of collage, charcoal, pastel, graphite, and acrylic on wood. This pi...

Robert Petersen Detail Sketch from January 1986, 1991 Pure pigment collage, acrylic painting and drawing Hand-signed by artist, Hand signed, hand initialed, annotated, dated by hand and with date stamp and stamped by artist and inscribed to Dr. Joseph and Mary Bottino Provenance: Bottino family 16 1/2 × 21 inches Unframed Unique Robert Petersen is a longtime collaborator, friend and protege of Robert Rauschenberg. Detail Sketch from January 1986, dated by the artist April 20, 1991, as well as April 1, 1991 and April 19, 1991, hand signed, as well as stamped RP several times, inscribed, and bears instructions"can paint over pink and blues and whites", and initialed. More about Robert Petersen: Robert Petersen was born in 1945 in the small farm town of Le Mars, Iowa and was raised there until 1952 when he moved with his family to Whittier, California. His education as an artist began in 1963 at Fullerton Community College where his interest in architectural drafting led him to develop a passion for drawing, painting, and printmaking. In 1966, he pursued his love for printmaking further at California State University, Long Beach under the former Tamarind Lithography Workshop printer, Robert Evermon. In 1969, Petersen went on to work as an assistant printer at Gemini G.E.L. where he printed editions for Frank Stella, Roy Lichtenstein, and Robert Rauschenberg. Most notably, Petersen served as one of the head printers for Rauschenberg's Stoned Moon series, during which the two formed a close friendship. In late 1970, Rauschenberg invited Petersen to live and work with him on Captiva Island, Florida, which had recently become the artist's permanent residence and studio. In 1971, Rauschenberg and Petersen...

Francisco Fernández, Claudia Fernández, Diego Toledo, Hector Quinones Corpse Drawing #47, The Return of the Cadavre Exquis, 1993 Ink, graphite, acrylic, and watercolor, with collage ...

Edwin Long 1829 - 1891 Portrait Studies Graphite on paper Image size: 4 x 8 inches (10 x 20.5 cm) Framed Edwin Longsden Long RA (1829-1891, British) wa...

Andrea Belag A Second Hand II, 1990 Monotype on cotton rag paper 42 1/2 × 30 inches Hand-signed by artist, Signed, titled and dated in pencil on the front; bears publishers name and copyright on the back, along with the unique inventory number Unframed Poignant 1990 monotype, in elegant pastel colors. The cotton rag paper has lightly deckled edges so it will look gorgeous when floated and framed. American painter Andrea Belag creates lush and luminous abstractions inspired by the visual and spiritual principles of Zen, as well as artists such as Mary Heilmann, Bernard Frize...

graphite on paper, drawing measures 5.5 x 4 inches Vintage frame is 12.5 x 9 x 2 inches with beautiful floral carved detail and fabric inlay. This graphite work on paper was inspire...

French pencil drawing of a nude male statue with bronze casting to leg by artist M. Lambert, circa 1930. Signed lower right. Original artwork on pap...

An early example from pioneering Female Cartoonist/ Illustrator Edwina Dumm, who draws a comic strip from her long-running cartoon series Tippie which lasted for almost five decades. Signed and dated Edwina, 9-25, matted but unframed. Frances Edwina Dumm (1893 – April 28, 1990) was a writer-artist who drew the comic strip Cap Stubbs and Tippie for nearly five decades; she is also notable as America's first full-time female editorial cartoonist. She used her middle name for the signature on her comic strip, signed simply Edwina. Biography One of the earliest female syndicated cartoonists, Dumm was born in Upper Sandusky, Ohio, and lived in Marion and Washington Courthouse, Ohio throughout her youth before the family settled down in Columbus.[1] Her mother was Anna Gilmore Dennis, and her father, Frank Edwin Dumm, was an actor-playwright turned newspaperman. Dumm's paternal grandfather, Robert D. Dumm, owned a newspaper in Upper Sandusky which Frank Dumm later inherited. Her brother, Robert Dennis Dumm, was a reporter for the Columbus Dispatch, and art editor for Cole Publishing Company's Farm & Fireside magazine. In 1911, she graduated from Central High School in Columbus, Ohio, and then took the Cleveland-based Landon School of Illustration and Cartooning correspondence course. Her name was later featured in Landon's advertisements. While enrolled in the correspondence course, she also took a business course and worked as a stenographer at the Columbus Board of Education. In 1915, Dumm was hired by the short-lived Republican newspaper, the Columbus Monitor, to be a full-time cartoonist.[2] Her first cartoon was published on August 7, 1915, in the debut issue of the paper. During her years at the Monitor she provided a variety of features including a comic strip called The Meanderings of Minnie about a young tomboy girl and her dog, Lillie Jane, and a full-page editorial cartoon feature, Spot-Light Sketches[3]. She drew editorial cartoons for the Monitor from its first edition (August 7, 1915) until the paper folded (July 1917). In the Monitor, her Spot-Light Sketches was a full-page feature of editorial cartoons, and some of these promoted women's issues. Elisabeth Israels Perry, in the introduction to Alice Sheppard's Cartooning for Suffrage (1994), wrote that artists such as Blanche Ames Ames, Lou Rogers and Edwina Dumm produced: ...a visual rhetoric that helped create a climate more favorable to change in America's gender relations... By the close of the suffrage campaign, women's art reflected the new values of feminism, broadened its targets, and attempted to restate the significance of the movement.[4] After the Monitor folded, Dumm moved to New York City, where she continued her art studies at the Art Students League. She was hired by the George Matthew Adams Service[5] to create Cap Stubbs and Tippie, a family strip following the lives of a boy Cap, his dog Tippie, their family, and neighbors. Cap's grandmother, Sara Bailey, is prominently featured, and may have been based on Dumm's own grandmother, Sarah Jane Henderson, who lived with their family. The strip was strongly influenced by Mark Twain’s Adventures of Huckleberry Finn, as well as Dumm’s favorite comic, Buster Brown by Richard F. Outcault. Dumm worked very fast; according to comics historian Martin Sheridan, she could pencil a daily strip in an hour.[6] Her love of dogs is evident in her strips as well as her illustrations for books and magazines, such as Sinbad, her weekly dog page which ran in both Life and the London Tatler. She illustrated Alexander Woollcott's Two Gentlemen and a Lady. For Sonnets from the Pekinese and Other Doggerel (Macmillan, 1936) by Burges Johnson (1877–1963), she illustrated "Losted" and other poems. From the 1931 through the 1960s, she drew another dog for the newspaper feature Alec the Great, in which she illustrated verses written by her brother, Robert Dennis Dumm. Their collaboration was published as a book in 1946. In the late 1940s, she drew the covers for sheet music by her friend and neighbor, Helen Thomas, who did both music and lyrics. During the 1940s, she also contributed Tippie features to various comic books including All-American Comics and Dell Comics. In 1950, Dumm, Hilda Terry, and Barbara Shermund...

Paul Feeley Rafina II Greece, 1961 Watercolour on paper Hand Signed, titled and dated lower front In 1961, color field painter Paul Feeley created a series of watercolors - Rafina an...

The image is an original animation drawing of Bugs Bunny and Yosemite Sam by Virgil Ross, a legendary animator from the "Golden Years of Animation" at Warner Bros. Graphite, colored ...

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

Stone and Press Gallery is excited to offer several works in celebration of the LGBTQ community. This is a drawing from the artist's sketchbooks. This pencil drawing shows a nude male in repose, The drawing is dated November 30 '36 (1936). Clearly the works are authentic and this sketch is signed "Jackson Lee Nesbitt...

This work on paper by James Childs is offered by CLAMP in New York City.

Greg Curnoe (1936-1992) was a highly revered artist, bookmaker, and competitive cyclist based in London, Ontario, but beloved across the country. He represented Canada in the 1976 Ve...

Pair of abstract geometric graphite drawings inspired by the moon in white frames "Oculus I and III" by David Dew Bruner made in 2024 graphite on paper Each individual drawing measur...

Graphite on hand made, fibrous wove paper, finished with gray wash. Unevenly trimmed sheet edges, non-archival tape remnants at all four corners, recto, well outside of image area. Horseshoe-shaped area of light discoloration that extends significantly into the figure's face, beneath the lips, and up over the rear of the head, dog-eared right lower corner with associated light discoloration at crease. DeMin and Belluno inscribed in graphite, verso. A detailed study showing 'primo pensiero' for Giovanni DeMin's large scale fresco, Assumption of the Virgin...

'Pencil Tapestry with Text no. 2' is a prismacolor pencil, graphite on paper, meditative, methodical, zen like calm drawing by Gloria Matuszewski with text from the Bhagavad Gita wri...

A 1951 graphite on paper, black and white figure study of a nude male, from 1951, by artist Harold Haydon. Artwork size: 19" x 12 1/2". Archivally matted to 24" x 20". Provenance...

Peter Halley Prison 14, 1995 Graphite pencil and ink drawing on paper. Hand signed. Titled. Dated. Framed. Hand signed on lower right front corner Unique Frame included Unique earli...

Nam June Paik Untitled, Plate Six from Novecento, 1992 Mixed Media: Color offset lithograph with unique chalk pastel drawing 13 3/10 × 18 inches Hand signed, Edition 104/130 Pencil numbered 104/130, hand signed in pastel chalk on the front Edizioni Carte Segrete, Rome, Italy Excellent condition; held in matting which can be easily removed The matting measures 18" x 21" This was part of a series of works produced for the Nam June Paik retrospective at the Palazzo delle Esposizioni, Rome, 1992, Nam June Paik: Arti Elletroniche. This is one of the editions which bears unique hand coloring with pastel chalk. A comparable work sold at auction in 2015 for US $12,583. (see details below): Nam June Paik Title Novecento Description Nam June PAI K Novecento 1930-1940, 1992 Pastel sur offset en couleurs, épreuve signée et numérotée 104/130 Edizioni Carte Segrete, Rome 23,5 x 39,5 cm EH Oeuvre réalisée a l'occasion de la rétrospective Paik au Palazzo delle Esposizioni, Rome, 1992, Nam June Paik: Arti Elletroniche, cinema e Media Verso il XXI Secolo Medium pastel Year of Work 1992 Size Height 9.3 in.; Width 15.6 in. / Height 23.5 cm.; Width 39.5 cm. Misc. Signed Sale of Millon & Associés: Monday, June 22, 2015 [Lot 00090] Design Sold For 11,057 EUR Hammer (12,583 USD) Nam June Paik Biography Nam June Paik was born in 1932 in Seoul. He received a BA in aesthetics from the University of Tokyo in 1956 where he also studied music and art history. After graduating, he studied for a year with composer Thrasybulus Georgiades Georgiades at the University of Munich and for two years with composer Woflgang Fortner at the International Music College in Freiburg. He attended the International Summer Courses for New Music in Darmstadt in 1957, when he met Karlheinz Stockhausen, and in 1958, when he met John Cage. Cage, and through him Marcel Duchamp, had a significant influence on Paik as he became a major force in the avant-garde through performances. In Hommage à John Cage (1959), Paik employed audiotape and performance to attack traditional musical instrumentation and compositional practices, splicing together piano playing, screaming, bits of classical music, and sound effects. Realizing that taped sound was not enough, he decided to move into performance, first by introducing performative actions into his audio works. In 1961 Paik performed Simple, Zen for Head and Étude Platonique No. 3, in which he became a volatile figure, thrashing about in unexpected patterns and sudden movements to his signature soundtracks. In 1962 Paik participated in the Fluxus International Festival of the New Music in Weisbaden. Paik's first exhibition, entitled Exposition of Music - Electronic Television, in 1963 at Galerie Parnass at Wuppertal, launched his transition from composer and performance artist to the inventor of a new art form: an engagement with the material site of television as an instrument. In the exhibition, thirteen televisions lay on their backs and sides with their reception altered; for example, Zen for TV (1963) reduced the television picture to a horizontal line and Kuba TV (1963) shrank and expanded the image on the television set according to the changing volume. In 1964 Paik traveled to the US. He quickly settled in New York and became a leading innovator among an emerging generation of artists seeking new modes of artistic expression and distribution. That same year, Paik collaborated with Shuya Abe to create Robot K-456 (1964), a remote controlled robot that played audiotaped speeches by John F. Kennedy and defecated beans in Paik's Robot Opera (1964). In the interactive work Magnet TV (1965), Paik invited viewers to modify the television's output into swerving abstract lines through the movement of a magnet over the TV. In 1967 Paik and frequent collaborator Charlotte Moorman were arrested when Moorman performed Paik's Opera Sextronique (1967), a striptease as she played the cello at the Filmmakers' Cinematheque in New York. Paik's TV Bra for Living Sculpture (1969), which Moorman wore in performances, featured two television tubes...

"Crystal Study" is a powdered graphite illustration, detailed with acrylic created by the talented fantasy artist Babs Webb. Depicted in this piece is a standard crystal formation, f...

Represented by George Billis Gallery, NYC & LA -- Joseph Piccillo's large-scale canvases contrast masculine and feminine qualities, carefully balancing strength and power beside grac...

My 80's Heart "Token 9" 2019, gouache, acrylic, graphite, panel, blue, orange, yellow

Paco Rabanne ( 1934 -2023 ) " Profil Orange " 41 X 31 cm 49 X 39 cm framed . colored pencil , Gouache, felt-tip pen and graphite on paper . signed and dated 1990.

John Koch, American (1909 - 1978) - Landscape Sketch, Year: circa 1970, Medium: Graphite on Paper, Size: 13.75 x 20 in. (34.93 x 50.8 cm)

Grey portrait of woman with white polka dots and a swath of green collaged media "Becca" by Ransome 2023 graphite, acrylic and collage on panel 8 x 8 x 2 inches, unframed Piece can b...

A colorful 1950s textile design (Black, yellow, blue, pink, red tones) by noted set and costume designer Andre Delfau. Born in Paris, France in 1914, Andre Delfau became an internationally acclaimed stage, set and costume designer who worked world-wide from the 1930s to the 1980s. Delfau was a life long artist and painted independently of his noted design career. His artwork is recognized for it’s vibrant color and form, and a particularly keen use of line. He was highly influenced by the French Modern trends of Cubism and Surrealism, and his artwork is often infused with a dramatic sense of architecture and perspective. Delfau created fashion designs for such major Paris couture houses as Balmain, Jean Patou and Balenciaga. He completed noteworthy set designs and costumes for numerous international operatic and ballet productions, including those at the Royal Danish Ballet, the Royal Ballet of Great Britain, the Paris Opera, the Dance Theater of Harlem, the Ruth Page International Ballet, the Civic Ballet of Chicago, the Chicago Opera Ballet and the Lyric Opera of Chicago, among others. Most notably, Delfau designed the elaborate stage sets and costumes for the 1986 PBS television production of the Viennese operetta, "Die Fledermaus...