Graphite Drawings and Watercolor Paintings

Graphite and watercolor attributed to the well known British artist, Henry Thomas Alken. Circa 1825. Unsigned. Condition: Good. Provenance: Christie’s London, 1993. Matted but presently unframed. Alken was born on 12 October 1785 in Soho, Westminster, and baptised on 6 November at St James's Church, Piccadilly. He was the third son of Samuel Alken, a sporting artist. Two of his brothers were George and Samuel Alken the Younger, also an artist. In 1789, the Alken family moved from Soho to 2, Francis Street East, Bedford Square. Young Henry first studied under his father and then with the miniature painter John Thomas Barber...

Pencil on smooth cream wove paper with a window pane drawn in gold ink, 8 3/8 x 11 3/4 inches (213 x 298 mm). Signed illegibly and dated in ink and again in pencil within the lower m...

An old master drawing that can live in a very contemporary environment! Remarkable use of line and expression - should be enjoyed in an important spot - can grace a kitchen or livin...

Simkhovitch was a celebrated artist in New York City from the 1920's through the 1940's. Life Magazine did a story on him and he was having great success in the New York Galleries. ...

Portrait of a resting young lady (Marjorie Organ) Black chalk on paper. c. 1907 signed in ink by Henri's nephew, John C. LeClair, the executor of the Henri estate "Robert Henri JLC" Note: The sitter for this portrait is depicted in two drawings of similar size, illustrated in Chapellier Galleries Inc., Robert Henri 1865-1929, 1976, nos. 15 & 16. Please see the attached photo of Marjorie Organ, Henri's second wife Condition: Excellent Image/Sheet size: 10 3/8 x 7 1/2 inches Provenance: Estate of the Artist John C. LeClair, Estate Adminitrator Private Collection, Pawling, New York Biography Robert Henri was born Robert Henry Cozad in Cincinnati, Ohio, on June 24, 1865, the son of a professional gambler and real estate developer. The family lived in Nebraska and Colorado, but fled east when the father shot and killed a rancher over a land dispute and was indicted for manslaughter. They changed their last name because of the ensuing scandal and eventually settled in Atlantic City, New Jersey, during the early 1880s. In 1886 Henri enrolled at the Pennsylvania Academy of the Fine Arts in Philadelphia, where he studied under Thomas Anshutz, Thomas Hovenden...

Signed lower right, 'C.A. Bartels' for Cornelius Anton Bartels (Dutch, born 1890) and painted circa 1945. A still-life with a sculpture of the Daoist immortal, Liu Haichan...

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...

"Scarecrow" is a beautiful collaboration between fantasy masters Babs Webb and Timothy Von Rueden, done with graphite on mixed media paper, and measuring at 14 x 11 in. in its frame,...

Original watercolor with graphite tracings of a hunter bring home the fresh game by the British artist, George Anderson Short. Signed top right. ...

Study of Lucie (Ralph) Belin seated in an interior Graphite on paper, 1915 Signed with the estate stamp, Lugt 909b, the stamp faded from blue to brown (see photo) Provenance: Neffe-D...

Abstract geometric graphite drawing inspired by the moon Oculus I by David Dew Bruner 2024 graphite on paper 15 x 11 inches unframed / 19 x 15 inches framed David Dew Bruner is a dr...

Hummingbird Augury (Circular Cobalt Blue Pastel Drawing of Golden Hummingbird and Stars on Indian Handmade Cotton Paper by Kahn & Selesnick) 11 inch diameter unframed pastel, conte c...

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

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...

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

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

Artist: Lowell Nesbitt (1933-1993) Title: Impossible Series (Niagara Falls) Year: 1990 Medium: Graphite on Arches paper Size: 50.25 x 35.5 inches Inscription: Signed, dated by the ar...

This drawing by James Childs is offered by CLAMP in New York City.

Work sold to benefit the CLEVELAND INSTITUTE OF ART Joseph B. O’Sickey (American, 1918–2013) Horses in Landscape Watercolor and graphite on paper Signed lowe...

Landscape mineral oxide on paper (fabriano) 50 x 72 cm it i Frame options available her painting tells of the relationship between man, nature and time, the l...

"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...

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

Karen Schiff is an artist and wordsmith based in New York; she has always been a reader as well as a visual artist. Her drawings, paintings, installations, and performances combine t...

Side View Seated Female Nude Graphite on paper, c. 1890's Unsigned Provenance: Rookwood Pottery Factory Collection, Cincinnati Spanierman Gallery, New York (label) Drawings from the...

Jim’s of Lambertville Fine Art Gallery is proud to present this piece by Daniel Garber (1880 - 1958). One of the two most important and, so far, the most valuable of the New Hope Sc...

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...

This is an original drawing on paper by Hunter Stabler measuring 12”h x 12”w x 2.5”d framed. The piece is made from graphite, ink, transfer paper and Gelly Roll® pen on paper. Hunter Stabler was born in Jefferson City, Missouri and was raised in upstate South Carolina. He received a BFA in painting from The Maryland Institute, College of Art and an MFA in painting from the University of Pennsylvania. He is currently pursuing an MFA in Digital Art at Louisiana State University. His work has been widely exhibited across the United States and internationally including exhibitions at the Morbid Anatomy Museum in Brooklyn, NY, The Shelburne Art Museum in Shelburne, VT, the Hunterdon Art Museum in Clinton, NJ, and the Islip Art Museum in East Islip, NY. His hand-cut paper artwork has been published in the books High Touch: Tactile Design and Visual Explorations, Push Paper, Strangers in the Nest (a book of Poems by Anselm Berrigan, Letterpress printed with images accompanying each poem), and published in Laminate Magazine, First Look Magazine, and American Craft Magazine. He was named “Philadelphia’s Next Hot...

Abstract cubist style still life graphite drawing inspired by Giorgio Morandi's bottle paintings “Single Morandi Bottle IX” by Hudson Valley artist, David Dew Bruner, made in 2022 G...

These recently discovered 1984 oversize nudes on mylar and/or archival papers were created working quickly, from a live model. The series shows the last existing observational drawi...

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

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...

Original watercolor with graphite tracings of interior pub scene by the British artist, George Anderson Short. Signed bottom left. Circa 1940. ...

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

Untitled (Two Standing Nudes, one seated nude) Graphite on wove paper, heightened with color, c. 1930 Unsigned From a sketchbook created while the artist was working in Paris Conditi...

Lower right "N.Brahma", inscribed verso "Nada Brahma" and titled "Refracted Sunset". A large watercolor seascape showing an abstracted view of jade and cobalt waves beneath a scarle...

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

"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...

James Siena Untitled t-nail drawing (reference: two against two), 1999 Graphite on paper Pencil signed, titled, annotated and dated on the reverse of the sheet (see photos) also penc...

Ink, graphite, and oil paint on double-sided frosted Mylar film mounted to board Signed and dated on label, verso This artwork is offered by ClampArt, located in New York City. Cub...

Original watercolor with graphite tracings of two hunters in the field by the British artist, George Anderson Short. Signed bottom right. Circa ...

Joan Snyder's early 1970s period is known as the best of her career, now an iconic period of time for feminist abstract painting of the era. This fully finished work on paper reads l...

Graphite on paper Dated, l.r. This artwork is offered by ClampArt, located in New York City. John Button (1929-1982) was a fine draftsman and drew from life models throughout his c...

Tammy Liu-Haller's "Things are Looking Up" is an original, handmade charcoal and graphite drawing that depicts a fox in profile looking upwards towards the s...

A ca. 1938 graphite on paper, study of a classical drapery by notable Modernist artist Jan Matulka. The image is drawn on the back of a typewritten, folded sheet of stationery, from...

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...

19th century maritime seascape of a naval ship similar to those used in the war of 1812, by William B. Hoff (American, 1846-1903). This miniature wat...

Wales: Caernarfon Castle by Leonard Machin Rowe (1880-1968) signed front lower right, inscribed and signed to the back watercolour painting on artist's paper, unframed Image 9.5 ...

Robert Morris Investigations (with Guggenheim Museum Labels), 1990 Graphite drawing on Mylar. Framed with the original Guggenheim Museum label (lent by Sonnabend), & Castelli Gallery...

Untitled (Letitia, pregnant with Rising Sun) Graphite on paper, 2005 Signed: "Sedrick Huckaby III" lower right (see photo) In April 2008, Huckaby was awarded a Guggenheim fellowship ...

Woman with Bicycle: Two Views Graphite on paper, c. 1890 Unsigned Graphite study of standing female nude verso Provenance: Rookwood Pottery Factory Collection, Cincinnati Spanierman Gallery, New York (label) Drawings from the sketchbook are in the collections of the Munson Williams Proctor Institute in Utica, New York and the Picker Art Gallery, Colgate University, Hamilton, New York. A sister drawing from the same sketchbook was sold at Cowman’s Auction, Cincinnati, October 6, 2018. Accompanied by a letter from the Spanierman Gallery, dated 1997, stating that the drawing is from a sketchbook that was held in the Rookwood Factory Collection. Sister drawing provenance: Provenance: Terry DeLapp...

Created circa 1955 by Victor Di Gesu (American, 1914-1988) and stamped verso with certification of authenticity. An atmospheric and psychologically penetrating figural drawing, sho...

Graphite on paper Dated in pencil, l.r. This artwork is offered by ClampArt, located in New York City. John Button (1929-1982) was a fine draftsman and drew from life models throug...

English Graphite Sketch of a Female Nude, Reclining (double sided sheet, another similar image verso) by Henry George Moon (British 1857-1905) on off white artists paper, unframed me...

My 80's Heart "Token 7" 2019, gouache, acrylic, graphite, panel, blue, wood, orange

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...

This drawing is part of the current exhibition entitled "The fantastic story of the liquid mountain" at Claire Corcia Gallery in Paris. The liquid mountain is populated by living be...

Arlene Shechet Summer Set 8, 2005 Watercolor monoprint on dieu donné hand made paper 21 × 27 1/2 inches Signed and dated in graphite on the front Exquisite watercolor monoprint on di...

Waves 1913 Inscribed in ink and pencil, recto; Extensive notes in pencil, verso Watercolor and graphite on cream wove paper 3.5 x 5.5 inches This work is offered by ClampArt in N...

Richard Garrison collects information from typically overlooked aspects of daily life. Observed data from places like big box stores and parking lots are systematically transformed i...

Study for “David and Goliath” Graphite and black ink on paper 8.5 x 11 inches (21.6 x 27.9 cm) This work is offered by ClampArt in New York City.