Ink Drawings and Watercolor Paintings

Nude of Woman is a china ink Drawing realized by Mino Maccari (1924-1989) in 1970s. Hand-signed on the lower margin. Good condition on a cream colored paper. Mino Maccari (Siena, ...

Regiment Provisoire Croate is an original drawing in ink and watercolor realized by by Herbert Knotel in 1930/40s. Good condition except for being aged. The artwork is depicted through strong lines in well-balanced conditions. Herbert Knotel was a german artist, son and pupil of the famous uniformologist and military historian Richard Knotel. He served as officer under Marshal Hindenburg in the Prussian Army...

The Sacred Flying Chariot is an ink drawing and collage on paper realized by an anonymous surrealist artist in 1937. Monogrammed "P.B." on the lower and dated and hand-note on the r...

The Crusades is a drawing realized by Alfred de Richemont (1857-1911) in the late 19th Century. Pencil, Ink, and Watercolor on paper. Hand-signed. In good conditions. Including a...

The breath of the ground #41 is an India ink and salt on paper drawing by the French contemporary artist Yann Bagot, dimensions are 185 × 125 cm (72.8 × 49.2 in). The artwork is sig...

Carriage is a charcoal drawing realized by Mino Maccari  (1924-1989) in the Mid-20th Century. Hand-signed. Good conditions with slight foxing. Mino Maccari (Siena, 1924-Rome, June...

Projet de Fontaine is a lovely and fun drawing and China ink, probably a sketch for an illustration, realized by the French painter, illustrator, and writer Amandine Doré...

Interior design paintings. The work was done with alcohol ink in garnet red, light blue, aubergine color on Yupo paper. The work is 20 by 26 inches in size, framed in fine-quality so...

Interior design paintings. The work was done with alcohol ink in yellow, orange, blue, pink, grey, green and brown color on Yupo paper. The work is 20 by 26 inches in size, framed in...

Goddess and Pillar of the West Sky is a Drawing realized by Iranian Painter and Poet Parimah Avani in 2023. China ink, acrylic, and mixed media on traditional Japanese Kozo paper, w...

Figures is a china ink drawing realized by Mino Maccari  (1924-1989) in the Mid-20th Century. Hand-signed. Good conditions with slight foxing. Mino Maccari (Siena, 1924-Rome, June...

William A. Berry (American, 1933-2010) was an accomplished artist and renowned illustrator who left thousands of drawings, paintings, photographs, and mixed media works, a multitude ...

Interior design paintings. The diptych is made with alcoholic ink on Yupo paper. Each work is 11 by 14 inches in size, framed without glass on a double mat board dark blue or gray wi...

Hug is a watercolor drawing realized by Mino Maccari  (1924-1989) in the Mid-20th Century. Hand-signed. Good conditions with slight foxing. Mino Maccari (Siena, 1924-Rome, June 16...

Playing is a china ink drawing realized by Mino Maccari  (1924-1989) in the Mid-20th Century. Hand-signed. Good conditions with slight foxing. Mino Maccari (Siena, 1924-Rome, June...

Playing is a watercolor drawing realized by Mino Maccari  (1924-1989) in the Mid-20th Century. Hand-signed. Good conditions with slight foxing. Mino Maccari (Siena, 1924-Rome, Jun...

Suzanne LALIQUE Blue dress : Antique Greek Costume Original India ink and watercolor drawing Signed with the stamp of atelier on the back On ve...

Kim Frohsin, Third generation Bay Area Figurative artist began exhibiting in the San Francisco Bay Area in the early 1990s, and in 1993 was included with Nathan Olivera, Manuel Neri...

Mr Mercadet for pour le Ballet is an original artwork realized by Sergio Barletta (Bologna, 1934) in 2012. China Ink drawing and watercolor. Image Dimensions: 43.9x32.9 cm. The p...

Fight is a china ink drawing realized by Mino Maccari  (1924-1989) in the Mid-20th Century. Hand-signed. Good conditions with slight foxing. Mino Maccari (Siena, 1924-Rome, June 1...

Paris Landscape is an original drawing in China ink and marker on paper realized by an Anonymous artist of the XX century. The State of preservation is very good and aged. Sheet d...

The Owl is an original Contemporary artwork realized in 1970 by the italian artist Leo Guida. Hand-signed and dated in pencil on the lower left corner: Leo Guida '70. Mixed media:...

"Isadora Duncan Dancing #3" is an original ink and watercolor piece on cream paper by Abraham Walkowitz. The artist signed the piece in the lower center. The drawing depicts Isadora ...

Norman Barr recorded his beloved New York City from the Bronx, to Coney Island, to the Fulton Fish Market. In this period he was on the New Deal's Mural ...

Bodies is an original drawing in pencil, pastel ank ink realized by an anonymous artist in the early 20th Century. Good conditions. The artwork is depicted through confident stroke...

Bill Shields "Portrait of a Couple" 1990's Watercolor and ink on paper affixed to mat board Site measures 5.5"x3.5" Unsigned came from artist's es...

Drawing / Geometric Abstraction / Mythology and Religion / Bright and Vivid Colors / Black and White Enamel, ink, colored pencil and alcohol ink on paper....

Beautiful drawing by the painter Eugène-Louis Lambert, famous for his representations of animals. Lambert was a pupil of Eugène Delacroix, who financed his studies, and of Paul Dela...

Rudolf SCHLICHTER (1890-1955) Seated man ; head studies India ink on paper Signed "R. Schlichter" at the bottom right 59 x 46 cm Missing at the top l...

In the 1950s and 60s Grambs worked on many commissions. This drawing was probably for a magazine, perhaps House and Garden or House Beautiful. It is signed and dated in pencil on the...

Girl is an original drawing in watercolored china ink on ivory-colored paper realized by the French artist Madeleine Scellier (1928). Hand-signed in pencil on the lower margin. The...

Maternity is a beautiful original drawing, composed by 4 original China ink scenes, of which the last is watercolored, realized by the French artist Eugéne Morin (1833-1875). Each s...

Goddess of Invisibility, Air, and Pendulants is a Drawing realized by Iranian Painter and Poet Parimah Avani in 2023. China ink, acrylic, and charcoal on traditional Japanese Kozo p...

Deity of Day and Night of the Ways is a Drawing realized by Iranian artist and Poet Parimah Avani in 2023. China ink, acrylic, and mixed media on Himalayan Washi Lokta paper with ap...

This artwork "Woman with Children" 2011 is a ink drawing on paper, by noted American artist Richard Benjamin Royce, born 1941. It is signed and dated at the lower right by the artist. The artwork size is 10.75 x 13.75 inches, framed is 17 x 21.5 inches. It is custom framed in a dark wood frame. it is in excellent condition. About the artist: After getting his BA and MA in fine art at the University of Wisconsin, Richard Royce went to France to study with Stanley W. Hayter, On returning to the US he opened a studio where he produced etchings, cast paper, paintings and sculptural commissions of his own work while at the same time helping other artists including Roy Lichtenstein, Larry Rivers, Marisol, George Segal, Raphael Soyer, Francoise Gilot and Jim Rosenquist to realize works in various media. Selected collections Bibliotheque Nationale, Paris, France State Historical Society of Wisconsin Portland Art Museum, Oregon Fine Arts Museum of Long Island, New York International Paper Corporation, New York Isla Center, University of Guam, Micronesia Byer Museum of the Arts, Evanston, Illinois Musee du Petite Format, Couvin, Belgique Uyasuda Life Insurance Company, Japan Selected solo exhibitions 1991 Prestige Gallery, Danvers, MA 1989 Watermark/Cargo Gallery.. Kingston, NY 1986 ARRAS Gallery, NYC, NY 1985 The Tremellen Gallery, Lancaster, PA 1982 Linden Gallery, New York, NY 1979 Contemporary Crafts Gallery, Portland, OR Keller Gallery, Salem, OR The Tremellen Gallery, Lancaster, PA 1970 Ventura College, Ventura, CO University of Wisconsin, Madison, WI 1969 Comsky Gallery, Boston, MA Ohio University, OH 1968 Thompson Gallery, Boston, MA The Galor Hagen Gallery, Dallas, TX University of Southern California Gallery Selected group exhibitions 2004 Living Space Gallery, Cornville, AZ 2001 Rodman Gallery, Stockbridge, MA 1997 Dalton Fine Art, Boston, MA Boston Corporate Art, Boston, MA Prestige Gallery, Atelier Royce Group Show, Danvers, MA 1996 Copley Society Gallery, Group Sculpture Show, Boston, MA 1995 Barbara’s Hang Up Gallery, Group Show, Beverly, MA 1991 Creative Framing Gallery, Boston, MA 1989 5e Exposition International "Petit Format de Papier" Cul-Des-Arts (Couvin), Belgique 1988 Premiere Triennale Mondiale D'Estampes Petit Format (Traveling show to museums throughout France) 1987 "Eight Upstate Sculptors", Woodstock Artist Assn., NY 1986 First International Biennial of Paper Art, Leopold-Hoesch Museum, Dueren, Germany 1985 '85 Mini-Exhibition, Isla Center, University of Guam, Micronesia 1984 Paperworks: A National Invitational, Chevey Cowles Memorial Museum, Spokane, WA Paper, Canvas & Glass, Gallery Mack, Seattle, WA Atelier Royce Group Show, Eclipse Gallery, New York Contemporary Paperworks, Hurlbutt Gallery, Greenwich, CT 1983 Paper As Images - Traveling exhibition: Six galleries throughout England 1982 Papermaking USA, American Crafts Museum, New York Atelier Royce Group Show, State University, Purchase, NY New American Graphics 2, Art Museum Association of San Francisco Traveling...

The River Barge Pen and ink on paper on laid paper, mounted in English drum mount , c. 1810 Unsigned Condition: Slight sun staining to sheet and mount in the window (see photo) Image/sheet size: 5 1/4 x 6 11/16 inches Sight: : 5-3/4 x 7-1/4" Frame: 13-3/8 x 14-3/8" Provenance: Colnaghi, London (see photo of label) David Cox (29 April 1783 – 7 June 1859) was an English landscape painter, one of the most important members of the Birmingham School of landscape artists and an early precursor of Impressionism. He is considered one of the greatest English landscape painters, and a major figure of the Golden age of English watercolour. Although most popularly known for his works in watercolour, he also painted over 300 works in oil towards the end of his career, now considered "one of the greatest, but least recognised, achievements of any British painter. His son, known as David Cox the Younger (1809-1885), was also a successful artist. Early life in Birmingham, 1783–1804 Cox's birthplace in Deritend, Birmingham, illustrated by Samuel Lines Cox was born on 29 April 1783 on Heath Mill Lane in Deritend, then an industrial suburb of Birmingham. His father was a blacksmith and whitesmith about whom little is known, except that he supplied components such as bayonets and barrels to the Birmingham gun trade. Cox's mother was the daughter of a farmer and miller from Small Heath to the east of Birmingham. Early biographers record that "she had had a better education than his father, and was a woman of superior intelligence and force of character." Cox was initially expected to follow his father into the metal trade and take over his forge, but his lack of physical strength led his family to seek opportunities for him to develop his interest in art, which is said to have first become apparent when the young Cox started painting paper kites while recovering from a broken leg. By the late 18th century Birmingham had developed a network of private academies teaching drawing and painting, established to support the needs of the town's manufacturers of luxury metal goods, but also encouraging education in fine art, and nurturing the distinctive tradition of landscape art of the Birmingham School. Cox initially enrolled in the academy of Joseph Barber in Great Charles Street, where fellow students included the artist Charles Barber and the engraver William Radclyffe, both of whom would become important lifelong friends. At the age of about 15 Cox was apprenticed to the Birmingham painter Albert Fielder, who produced portrait miniatures and paintings for the tops of snuffboxes from his workshop at 10 Parade in the northwest of the town. Early biographers of Cox record that he left his apprenticeship after Fielder's suicide, with one reporting that Cox himself discovered his master's hanging body, but this is probably a myth as Fielder is recorded at his address in Parade as late as 1825. At some time during mid-1800 Cox was given work by William Macready the elder at the Birmingham Theatre, initially as an assistant grinding colours and preparing canvases for the scene painters, but from 1801 painting scenery himself and by 1802 leading his own team of assistants and being credited in plays' publicity. London, 1804–1814 In 1804 Cox was promised work by the theatre impresario Philip Astley and moved to London, taking lodgings in 16 Bridge Row, Lambeth. Although he was unable to get employment at Astley's Amphitheatre it is likely that he had already decided to try to establish himself as a professional artist, and apart from a few private commissions for painting scenery his focus over the next few years was to be on painting and exhibiting watercolours. While living in London, Cox married his landlord's daughter, Mary Agg and the couple moved to Dulwich in 1808. David Cox Travellers on a Path, pencil and brown wash. In 1805 he made his first of many trips to Wales, with Charles Barber, his earliest dated watercolours are from this year. Throughout his lifetime he made numerous sketching tours to the Home Counties, North Wales, Yorkshire, Derbyshire and Devon. Cox exhibited regularly at the Royal Academy from 1805. His paintings never reached high prices, so he earned his living mainly as a drawing master. His first pupil, Colonel the Hon.H. Windsor (the future Earl of Plymouth) engaged him in 1808, Cox went on to acquire several other aristocratic and titled pupils. He also went on to write several books, including: Ackermanns' New Drawing Book (1809); A Series of Progressive Lessons (1811); Treatise on Landscape Painting (1813); and Progressive Lessons on Landscape (1816). The ninth and last edition of his series Progressive Lessons, was published in 1845. By 1810 he was elected President of the Associated Artists in Water Colour. In 1812, following the demise of the Associated Artists, he was elected as associate of the Society of Painters in Water Colour (the old Water Colour Society). He was elected a Member of the Society in 1813, and exhibited there every year (except 1815 and 1817) until his death. Hereford, 1814–1827 In the summer of 1813 Cox was appointed as the drawing master of the Royal Military College in Farnham, Surrey, but he resigned shortly afterwards, finding little sympathy with the atmosphere of a military institution. Soon after that he applied to a newspaper advertisement for a position as drawing master for Miss Crouchers' School for Young Ladies in Hereford and in Autumn 1814 moved to the town with his family. Cox taught at the school in Widemarsh Street until 1819, his substantial salary of £100 per year requiring only two-day's work per week, allowing time for painting and the taking of private pupils. Cox's reputation as both a painter and a teacher had been building over previous years, as indicated by his election as a member of the Society of Painters in Water Colours and his inclusion in John Hassell's 1813 book Aqua Pictura, which claimed to present works by "all of the most approved water coloured draftsmen". The depression that accompanied the end of the Napoleonic Wars had caused a contraction in the art market, however, and by 1814 Cox had been very short of money, requiring a loan from one of his pupils to pay even for the move to Hereford. Despite its financial advantages and its proximity to the scenery of North Wales and the Wye Valley, the move to Hereford marked a retreat in terms of his career as a painter: he sent few works to the annual exhibition of the Society of Painters in Water Colours during his first years away from London and not until 1823 would he again contribute more than 20 pictures. Between 1823 and 1826 he had Joseph Murray Ince as a pupil. London, 1827–1841 He made his first trip to the Continent, to Belgium and the Netherlands in 1826 and subsequently moved to London the following year. He exhibited for the first time with the Birmingham Society of Artists in 1829, and with the Liverpool Academy in 1831. In 1839, two of Cox's watercolours were bought from the Old Water Colour Society exhibition by the Marquis of Conynha for Queen Victoria. Birmingham, 1841–1859 Greenfield House in Harborne, Birmingham – where Cox lived from 1841 until his death in 1859 . In May 1840 Cox wrote to one of his Birmingham friends: "I am making preparations to sketch in oil, and also to paint, and it is my intention to spend most of my time in Birmingham for the purpose of practice". Cox had been considering a return to painting in oils since 1836 and in 1839 had taken lessons in oil painting from William James Müller, to whom he had been introduced by mutual friend George Arthur Fripp. Hostility between the Society of Painters in Water Colours and the Royal Academy made it difficult for an artist to be recognised for work in both watercolour and oil in London, however, and it is likely that Cox would have preferred to explore this new medium in the more supportive environment of his home town. By the early 1840s his income from sales of his watercolours was sufficient to allow him to abandon his work as a drawing master, and in June 1841 he moved with his wife to Greenfield House in Harborne, then a village on Birmingham's south western outskirts. It was this move that would enable the higher levels of freedom and experimentation that were to characterise his later work. The elderly Cox pictured by Samuel Bellin in 1855. In Harborne, Cox established a steady routine – working in watercolour in the morning and oils in the afternoon. He would visit London every spring to attend the major exhibitions, followed by one or more sketching excursions, continuing the pattern that he had established in the 1830s. From 1844 these tours evolved into a yearly trip to Betws-y-Coed in North Wales to work outdoors in both oil and watercolour, gradually becoming the focus for an annual summer artists colony that continued until 1856 with Cox as its "presiding genius". Cox's experience of trying to exhibit his oils in London was short and unsuccessful: in 1842 he made his only submission to the Society of British Artists; one oil painting was exhibited at each of the British Institution and the Royal Academy in 1843; and two oil paintings were exhibited at the Royal Academy in 1844 – the last that would be exhibited in London during his lifetime. Cox showed regularly at the Birmingham Society of Arts and its successor, the Birmingham Society of Artists, becoming a member in 1842. Cox suffered a stroke on 12 June 1853 that temporarily paralysed him, and permanently affected his eyesight, memory and coordination. By 1857 however, his eyesight had deteriorated. An exhibition of his work was arranged in 1858 by the Conversazione Society Hampstead, and in 1859 a retrospective exhibition was held at the German Gallery Bond Street, London. Cox died several months later. He was buried in the churchyard of St Peters, Harborne, Birmingham, under a chestnut tree, alongside his wife Mary. Work Early work In the spring of 1811 Cox made a small number of notable works in oils during a visit to Hastings with his family. It is not known why he didn't continue working in this medium at the time, but the five known surviving examples were described in 1969 as "surely some of the most brilliant examples of the genre in England". Mature work Cox reached artistic maturity after his move to Hereford in 1814. Although only two major watercolours can confidently be traced to the period between Cox's arrival in the town and the end of the decade, both of these – Butcher's Row, Hereford of 1815 and Lugg Meadows, near Hereford of 1817 – mark advances on his earlier work. Later work Cox's later work produced after his move to Birmingham in 1841 was marked by simplification, abstraction and a stripping down of detail. His art of the period combined the breadth and weight characteristic of the earlier English watercolour school, together with a boldness and freedom of expression comparable to later impressionism. His concern with capturing the fleeting nature of weather, atmosphere and light was similar to that of John Constable, but Cox stood apart from the older painter's focus on capturing material detail, instead employing a high degree of generalisation and a focus on overall effect. The quest for character over precision in representing nature was an established characteristic of the Birmingham School of landscape artists with which Cox had been associated early in his life, and as early as 1810 Cox's work had been criticised for its "sketchiness of finish" and "cloudy confusion of objects", which were held to betray "the coarseness of scene-painting". During the 1840s and 1850s Cox took this "peculiar manner" to new extremes, incorporating the techniques of the sketch into his finished works to a far greater degree. Cox's watercolour technique of the 1840s was sufficiently different from his earlier methods to need explanation to his son in 1842, despite the fact that his son had been helping him teach and paint since 1827. The materials used for his later works in watercolour also differed from his earlier periods: he used black chalk instead of graphite pencil as his primary drawing medium, and the rough and absorbent "Scotch" wrapping paper for which he became well-known – both of these were related to his development of a rougher and freer style. Influence and legacy By the 1840s Cox, alongside Peter De Wint and Copley Fielding, had become recognised as one of the leading figures of the English landscape watercolour style of the first half of the 19th century. This judgement was complicated by reaction to the rougher and bolder style of Cox's later Birmingham work, which was widely ignored or condemned. While by this time De Wint and Fielding were essentially continuing in a long-established tradition, Cox was creating a new one. A group of young artists working in Cox's watercolour style emerged well before his death, including William Bennett, David Hall McKewan and Cox's son David Cox Jr. By 1850 Bennett in particular had become recognised as "perhaps the most distinguished among the landscape painters" for his Cox-like vigorous and decisive style. Such early followers concentrated on the example of Cox's more moderate earlier work and steered clear of what were then seen as the excesses of Cox's later years. During a period dominated by sleek and detailed picturesque landscape, however, they were still condemned by publications such as The Spectator as "the 'blottesque' school", and failed to establish themselves as a cohesive movement. John Ruskin in 1857 condemned the work of the Society of Painters in Water-colours as "a kind of potted art, of an agreeable flavour, suppliable and taxable as a patented commodity", excluding only the late work of Cox, about which he wrote "there is not any other landscape which comes near these works of David Cox in simplicity or seriousness". An 1881 book, A Biography of David Cox: With Remarks on His Works and Genius, was based on a manuscript by Cox's friend William Hall, edited and expanded by John Thackray Bunce, editor of the Birmingham Daily Post. There are two Blue Plaque memorials commemorating him at 116 Greenfield Road, Harborne, Birmingham, and at 34 Foxley Road, Kennington, London, SW9, where he lived from 1827. It can also be seen at the David Cox exhibition in Birmingham. His pupils included Birmingham architectural artist, Allen Edward...

This is a framed mixed media ink painting (sumi inks, India inks, and walnut inks) on paper in red, black, and earth tones. It is framed in a contemporary white wood shadowbox frame. Organizing the composition is a moon motif. This series was created by Antonio Puri during an artist's residency in Australia. Can be displayed in any orientation. This piece works especially well when paired with "Rhythm Hut #17", listed separately. Antonio Puri was born in Chandigarh, Punjab, India and raised in the Himalayas around Buddhist monks before studying at the Academy of Art in San Francisco, Coe College, and the University of Iowa. He established his studio in Philadelphia where he practiced for many years before relocating to Bogotá, Colombia. During this time, Puri completed several artist residencies all over the world, including in New York, Hungary, Bulgaria, Colombia, South Africa, Serbia, Mauritius, India, Denmark, Trinidad and Tobago, and Romania. Puri’s range of geographical and cultural experiences are embedded in his work, where he commonly explores the relationships between his eastern and western cultural connections. Puri has exhibited his work all over the world, including at the Museo de Arte del Tolima in Colombia; Sundaram Tagore Gallery Singapore; Government Museum and Art Gallery Chandigarh, India; Art Depot, Austria; La Cometa Gallery, Bogota; Museo Casa Conde Rul, Mexico; The Guild, NY; Nu Art...

Ink, gouache and acrylic on Fabriano paper - Unframed. Test Pattern series sets up a generic template as a poetic prompt to consider how behavioural responses to color and form stim...

Black and White Cat Ink and watercolor on paper, c. 1970 Unsigned Provenance: Estate of the artist (Estate No. 737) Condition: Excellent Image/Sheet size: 4 3/4 x 6 1/4 inches Sam Spanier (1925-2008) Born in Brooklyn New York, Sam Spanier studied painting with Hans Hofmann (1949–50) and also at the Taos Valley Art School (1951). His formative years as a working artist were spent in Paris (1951–52), where he also became involved with the work of G. I. Gurdjieff, through his disciple, Mme. Jeanne de Salzmann. By 1953, Spanier’s work had already begun to meet with critical acclaim. That year, he had his first solo gallery show, and was selected by Milton Avery and Hans Hofmann to receive the prestigious Lorian Fund Award. His second solo exhibition, in 1955, was curated by renowned museum director, Gordon Washburn. Spanier’s early work was reviewed by Dore Ashton, Donald Judd, Fairfield Porter, Stuart Preston, and Irving Sandler, among other significant critics of the period. Spanier’s spiritual path increasingly became the central focus of both his life and his art. In 1960, he was introduced to the teachings of Sri Aurobindo, which led to visits to the Sri Aurobindo Ashram in Pondicherry, India, in 1962 and 1964, during which he was inspired to leave New York City and found Matagiri (in 1968)—a spiritual center in Woodstock, New York—with his lifelong partner, Eric Hughes. The work he embarked upon there bifurcates his life as an artist, separating him from New York’s art world, and radically altering the trajectory of his career. From that point forward, it would be difficult, perhaps impossible, to consider his artistic endeavor apart from the life of dedication he had undertaken, and to which he remained committed. As early as 1954, Dore Ashton had recognized in Sam Spanier a “haptic visionary;” in 1960, Irving Sandler wrote that the people in Spanier’s paintings “seem to have witnessed some transfiguring event.” In his later paintings—usually worked in oil pastel on panel or paper—made during intermittent creative periods, from the mid-1970s to the final years of his life, the artist’s inner life remains always apparent in his subject matter; and from the portraits and abstract Buddha-like figures and heads, to the fantasy landscapes, the paintings are redolent with a rich intensity of color and light that can only be described as inspired. Sam Spanier’s works are in the collections of the Historical Society of Woodstock Museum, and the Woodstock Artists Association & Museum. He received the Woodstock Artists Association Lifetime Achievement Award in 2007. Selected Solo Exhibitions: Urban Gallery, New York (1954, 1955, 1956); Wittenborn Gallery, New York (1958); Gallery Mayer, New York (1958, 1959, 1960); Unison Gallery, New Paltz (1986, 1995, 2009); Limner Gallery, New York (1988); Fletcher Gallery, Woodstock, New York (1999). Selected Group Exhibitions: Salon des Comparaisons, Musée d’Art Moderne, Paris, France (1952); October Exhibition of Oil Paintings, New York City Center Gallery, New York (1954); Salon de Mai, Musée d’Art moderne de la ville de Paris, Centre Culturel de Saint-Germain-en-Laye, Paris, France (1954); Carnegie International, Carnegie Institute, Pittsburgh, Pennsylvania (1955); Les Plus Mauvais Tableaux, Galerie Prismes, Paris (1955); Première Exposition Internationale de l’Art Plastique Contemporain, Musée des Beaux-Arts de la Ville de Paris (1956); Recent Paintings USA: The Figure, The Museum of Modern Art (1960); Winter’s Work, Woodstock Artists Association, Woodstock, New York (1985); Juried Group Show, Woodstock Artists Association, Woodstock, New York (1986); Woodstock Artists, Self-Portraits, Historical Society of Woodstock Museum, Woodstock, New York (1988); Portraits, Albert Shahinian Fine Art, Poughkeepsie, New York (2003); The World We Live In, Upstate Art, Phoenicia, New York (2003); Show of Heads, Limner Gallery, Phoenicia, New York (2004). Selected Writings on the Artist: Dore Ashton, “Sam Spanier,” Art Digest (May 1, 1954) and “Sam Spanier,” The New York Times (March 16, 1960); Cassia Berman, “Sam Spanier: A Divine Calling,” Woodstock Times (February 7, 2008); Lawrence Campbell, “Sam Spanier: Exhibition of Paintings at Urban Gallery,” Art News...

I Vote For Guttuso is a China Ink Drawing and Watercolour realized by Mino Maccari (1924-1989) in 1975s. Hand-signed on the lower margin. Good condition on a white paper. Mino Ma...

Study for the Murder of Marat (Studio per l'uccisione di Marat) is the original black ink and black marker drawing on paper, realized in 1968 by Gian Paolo Berto (Andria, Italy, 1940...

From the Artist Bridget Bardot series Ink + thread hand and machine stitched on paper

Hand drawn op art painting by contemporary artist Austin Magruder. The work features abstract, geometric tessellations that create a mesmerizing pattern. Signed and dated in the front lower right corner. Currently hung in a white floating frame. Dimensions Without Frame: H 24 in. x W 17.88 in. Artist Biography: After discovering his ability and passion for geometric art, Austin constantly challenges himself to expand the boundaries of geometric pattern. His use of vibrant colors intertwined with never ending paths results in a 3 dimensional surprise to the naked eye. Austin had some schooling at Glassell School of Art, but is self taught in the realm of geometric art. He has always been creative and interested in arts as a means of escape. Over the past several years Austin started dedicating more of his time to his passion for creating art. Austin started coloring geometric patterns, primarily mandala drawings during Dialysis treatments in 2016. Eventually becoming inspired to learn to draw with a compass and ruler. One thing lead to another and now he has discovered over 120 tessellatons. During late 2018 to Spring 2020, Austin was a tenant at Sawyer Yards and attended several classes Glassell School of Art from 2019 to early 2020. Since this time, he worked for a commercial screen...

William A. Berry (American, 1933-2010) was an accomplished artist and renowned illustrator who left thousands of drawings, paintings, photographs, and mixed media works, a multitude ...

Resurrection, Rise of the Dead is a Drawing realized by Iranian artist and Poet Parimah Avani in 2023. China ink, acrylic on Japanese Washi Haruki paper with applied Papyrus, Plette...

Rome is a beautiful artwork realized by Jan Peter Verdussen in 1742. In good condition except for some pencil marks and traces of sealing wax on the back and diffused foxings. Hand...

"Song of Peace" Figurative Painting 13 x 9 in (circa1980) by Ibrahim Abd Elmalak Song of Peace Ink on Paper Come in black frame Circa 1980 Signed. Not dated. The selection of Abd...

Gigantic Birds is a modern artwork by Gabriele Galantara (1865-1937) in the early 20th century. The artwork has been realized in Ink, Tempera, Watercolor, and White Lead on paper. ...

The Saloon is an original drawing in china ink realized by Maurice Moppes (1904-1957) in the early 20th century. Monogrammed on the lower "MVM". The artwork is depicted through d...

Composition is an original artwork realized by Maurizio Gracceva (Roma, 1955) in 2010. China ink drawing on paper. Hand signed. Author of numerous philosophical and literary essay...

This artwork "Two Children with Dog" is an original ink drawing on vey thick Bristol paper by American artist Lynn Gertenbach, b.1940. It is hand signed a...

Ode to Bob Lazar, 2020, gel pen ,ink and graphite on paper, green, abstract, drawing, pink, pattern, blue, yellow, black, ufo, science fiction, alien, yin ya...

After the Cure is an ink and watercolor drawing on ivory-colored paper, in the 1920s realized by Luigi Bompard (1879-1953). Hand-signed in pen on the lower margin. In good conditio...

The Profile is a modern artwork realized by Leo Guida in the 1970s. Good condition. Ink and watercolor on paper. Leo Guida has been able to weave a productive interview on art and...

Angle with Bird is a modern artwork realized by Leo Guida in the 1970s. Good condition. Ink drawing on paper. Leo Guida has been able to weave a productive interview on art and th...

Rosy ANDREASI-VERDIER (1934-2015) Mode drawing : Elegant Short Dresses Original gouache and watercolor drawing Bears the "Rosy Andreasi Verdier" Archives stamp bottom left...

"#187 – HE SAID IT WAS A LIE" is from Amy Williams' series A Farewell to Arms – wherein the artist is working directly onto page 187 of a found copy of Er...

Original early modernist india ink drawing with brushwork by the well known American artist, Adolf Arthur Dehn. Signed by the artist, titled and dated 1925 lower right. Dehn spent his early career traveling and working in Europe during the three year time period 1922 to 1925 when this drawing was done in France. The Chateau d’Auguebelette build in the fourteen century as a fort sits high on the mountain range to the left. Condition is very good. Light toning of paper consistent with age. Under glass, not examined out of frame. The artwork is housed in a antique style silver leaf contemporary frame 16.25 by 22 inches. Adolf Dehn, painter, printmaker, author, illustrator and teacher, was born Adolph Arthur Dehn in Waterville, Minnesota on November 22, 1895. He was valedictorian of his graduating class at Waterville High School and attended the Minneapolis School of Art between 1914 and 1917. Dehn studied for a year at the Art Students League in New York beginning in 1919. While in New York he met Boardman Robinson who introduced him to the master printer, George Miller. The first exhibition of Dehn's lithographs was held at the Weyhe Gallery in New York City in 1921 and the Weyhe Gallery mounted his first solo exhibition in 1923. Throughout is life Dehn was a frequent visitor to Europe, staying for various periods of time. Upon his return from a three-year stay in Europe in 1925, he changed the spelling of his first name to Adolf. In 1934, Dehn established the Adolf Dehn Print Club and was one of the founder-member artists of Associated American Artists in New York. He was selected by Prints magazine as one of the ten best printmakers in the United States in 1936 and the following year he worked in the graphic arts division of the Federal Art Project. He taught summers at Stephens College in Columbia, Missouri (1938) and the Colorado Springs Fine Arts Center (1940-1942). For his lithographs, Dehn worked with the finest printers including Meister Schulz in Berlin, Edmond Desjobert in Paris, and George Miller, Grant Arnold...