Oil Crayon Drawings and Watercolor Paintings

Les Andelys in the Seine Valley France Landscape Pastel Art. A fine example of the beautiful work of British 20th Century Artist, Lionel Aggett (1938-2009). Signed front and rear, fr...

Expressionist oil crayon on board portrait of a clown. The work is signed and dated top right. A wonderful strong and colourful portrait. The subject is looking out at us with his s...

Work : Original Drawing, Unique Work, Handmade Artwork. The work has been treated with UV-resistant varnish and it is not framed. Medium : Acrylic and oil based pencils on ARCHES pa...

Work : Original Drawing, Handmade Artwork, Unique Work. The work has been treated with an anti-UV varnish and it is not framed. Medium : Oil based color pencils on Hahnemühle Fine A...

Getting Ready for the Revolution - Learning How to Ride in the Subway Litho crayons on illustrator’s board, c. 1932 Signed: Adolf Dehn (VED) lower right corner (signed by Virginia De...

Work : Original Drawing, Unique Work, Handmade Artwork. The work has been treated with Archival Varnish with UV protection and it is not framed. Medium : Soft Pastel and oil based p...

Work : Original Drawing, Handmade Artwork, Unique Work. The work has been treated with UV-resistant varnish and it is not framed. Medium : Soft Pastel and oil based pencils on ARCHE...

Work : Original Drawing, Handmade Artwork, Unique Work. The work has been treated with an anti-UV varnish and it is not framed. Medium : Oil based color pencils on archival paper pu...

Angela brings vibrant immediacy to her figurative paintings. She uses a depth of colour and bright outlines of her figures to emphasize shape and contours. In all her works Angela gi...

Agnes Weinrich was born in Burlington, Iowa in 1873. She studied with French Cubist Albert Gleizes in Berlin, Paris, and Rome, and with Charles Webster Hawthorne and Blanche Lazzell ...

Explore Mila Francesca Cali's abstract watercolors, inspired by her plein-air studies of space and nature. With echoes of modernist painting in a contemporary context, each piece res...

Explore Mila Francesca Cali's abstract watercolors, inspired by her plein-air studies of space and nature. With echoes of modernist painting in a contemporary context, each piece res...

Explore Mila Francesca Cali's abstract watercolors, inspired by her plein-air studies of space and nature. With echoes of modernist painting in a contemporary context, each piece res...

Explore Mila Francesca Cali's abstract watercolors, inspired by her plein-air studies of space and nature. With echoes of modernist painting in a contemporary context, each piece res...

Explore Mila Francesca Cali's abstract watercolors, inspired by her plein-air studies of space and nature. With echoes of modernist painting in a contemporary context, each piece res...

Work : Original Drawing, Handmade Artwork, Unique Work. The work has been treated with an anti-UV varnish and it is not framed. Medium : Soft Pastel and Oil based color pencils on A...

Explore Mila Francesca Cali's abstract watercolors, inspired by her plein-air studies of space and nature. With echoes of modernist painting in a contemporary context, each piece res...

Explore Mila Francesca Cali's abstract watercolors, inspired by her plein-air studies of space and nature. With echoes of modernist painting in a contemporary context, each piece res...

Explore Mila Francesca Cali's abstract watercolors, inspired by her plein-air studies of space and nature. With echoes of modernist painting in a contemporary context, each piece res...

Explore Mila Francesca Cali's abstract watercolors, inspired by her plein-air studies of space and nature. With echoes of modernist painting in a contemporary context, each piece res...

Explore Mila Francesca Cali's abstract watercolors, inspired by her plein-air studies of space and nature. With echoes of modernist painting in a contemporary context, each piece res...

Explore Mila Francesca Cali's abstract watercolors, inspired by her plein-air studies of space and nature. With echoes of modernist painting in a contemporary context, each piece res...

Explore Mila Francesca Cali's abstract watercolors, inspired by her plein-air studies of space and nature. With echoes of modernist painting in a contemporary context, each piece res...

Explore Mila Francesca Cali's abstract watercolors, inspired by her plein-air studies of space and nature. With echoes of modernist painting in a contemporary context, each piece res...

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

Oil painting and Oil based color pencils on Archival Cardboard 2mm - Original Painting and Drawing, Still-Life, Interior, Ready to hang Work Title : Fenêtre sur lac (EN : Window on lake) Artist : Gabriel Riesnert...

Jim Dine The Christmas Print (Burg, 26), 2001 Drypoint, direct gravure, etching over offset lithograph with hand coloring by artist in oil stick, on T.H. Saunders paper, the full she...

Large bright vivid drawing done in oil crayon or oil pastel. Abstract floral drawing. David Kimball Anderson’s work is bold and graceful, respectful and spiritual. A practicing Bud...

Work : Original Painting and Drawing - Handmade Artwork, Unique Work. The work has been treated with an anti-UV varnish Medium : Oil painting and oil-based coloured pencils on Canson Archival paper 270 Gsm. Artist : Gabriel Riesnert Subject : Jardin imprévu (Title) Signature : The work is signed, titled and dated verso. It will be supplied with a certificate of authenticity from the artist. Size : H29,7 cm x W21 cm. Not Framed (Without frame, image is just to give an example) . Museum matting & backing included, ready to be framed in a standard A4 frame...

TUSET (1997, A Coruña, España) Mixed media painting on paper Ready to frame One-of-a-kind Signed on back Includes certificate of authenticity 2021 65 x 50 cm. It belongs to the ser...

This fantastic 1920's oil crayon drawing is by Dutch artist Adriaan Lubbers. It shows a birds eye view of New York. The view is of the river and boats towards Manhattan. A really ic...

Fernando Natalici Area Nightclub 1983-1987: A collection of 16 hand-colored silver gelatin photographs spanning the history of the seminal 1980s New York nightclub known as "Area". These rare images were captured by Fernando Natalici - a noted downtown art scene photographer who is also famous for designing the majority of Area's party invites during this period. These works were exhibited at Area circa 1986 as part of show curated by Serge Becker (featured in image 4) - a key Area figurehead. A much historical & highly decorative assemblage of Area regulars defining the club's historic & vibrant scene. Further details: Medium: A collection of 16 individual hand-colored silver gelatin photographs mounted on illustration board. Overall Dimensions (applies to each individual work): 16x20 inches. Condition: Good overall vintage condition. Some scattered surface markings to margin areas. Each hand-signed on the reverse by Natalici and unique. Provenance: Obtained directly from artist. Literature/References: Area: 1983-1987 by Eric Goode Jennifer Goode (pub. by Abrams 2013). New York Magazine 2013: "It Was the Hottest Club in Town." Area: A brief history (New York Magazine 11/1/13): "Influenced equally by sixties-era happenings and the gonzo childhoods of its proprietors, Area opened its doors in 1983. The club, unlike any that came before it, underwent a painstaking transformation roughly every six weeks, with themes like Confinement, Suburbia, and Science Fiction that incorporated elaborate art installations with taxidermied bears...

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

David Humphrey Remembering Florida, 1992 Oil Stick, Enamel on Handmade Paper (Contemporary Art Center of Cincinnati label verso of frame) Signed on the back 29 × 43 1/2 × 1 inches Unframed This is an abstract, mixed media work by David Humphrey. It has a "Contemporary Arts Center of Cincinnati" label on the verso. In a vintage mahogany box...

This work is from The Sound Art Drawings, a series by New York City-based artist Christopher Stout, whose pronouns are he/him or the inclusive they/t...

This piece is part of an intimate journal series the artist has made over the years in which she has registered dreams, thoughts, feelings, desires, and emotions. It's about her inte...

This piece is part of an intimate journal series the artist has made over the years in which she has registered dreams, thoughts, feelings, desires, and emotions. It's about her inte...

This piece is part of an intimate journal series the artist has made over the years in which she has registered dreams, thoughts, feelings, desires, and emotions. It's about her inte...

This piece is part of an intimate journal series the artist has made over the years in which she has registered dreams, thoughts, feelings, desires, and emotions. It's about her inte...

From The British mandate Pre State of Israel Palestine Period. Eliahu Sigad (Eliyahu Sigard), painter, born 1901, Lithuania. Founder of Israeli Painters' Association. Educated in Eur...

This fantastic 1920's oil crayon drawing is by Dutch artist Adriaan Lubbers. It shows a birds eye view of New York. The view is of the river and boats towards Manhattan. A really ic...

William Tucker Study for Gymnast IV (De-Accessioned from the High Museum of Art, Atlanta), 1985 Oil Stick on Paper Hand signed by the artist on the front Original vintage frame included This study by the modern British sculptor, William Tucker, was done of the bronze sculpture 'Gymnast IV.' The sculpture is currently part of the Tate Galleries Collection in England. It was one of a series of four that the artist completed in 1983. Tucker, along with Isaac Witkin...

Michael Lucero (born 1953) is an American sculptor. His work has been exhibited in the Carnegie Museum of Art and the Mint Museum. Lucero works with multiple mediums and usually work...

Overflowing with imaginative symbolism, Rafael Melendez's Neo-conceptualist work on paper, Foot Head Smoking, 2022, captivates avant-garde enthusiasts seeking a distinctive approach ...

"Forest Lights" is an abstract painting by TUSET. It is a beautiful abstract architectural painting of unique blurry shapes brushstrokes. The painting was made with oil crayon on wat...

Chorus Line Oil pastel on paper, c. 1960's Signed (see photo) Provenance: Estate of the Artist Estate of the artist (Estate No. 745) Condition: Excellent Image/Sheet size: 5 3/4 x 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 (April 1, 1954); Sam Feinstein, “Sam Spanier: Exhibition of Paintings at Urban Gallery,” Art Digest (March 1, 1955); Pat Horner, “Big Heart, Timeless Art —Sam Spanier Retrospective at Fletcher Gallery, Woodstock Times (July 1, 1999); Donald Judd, “In the Galleries: Sam Spanier,” Arts Magazine (April 1960); Liam Nelson, “Human Force...

Oil pastel, wax pastel, acrylic on paper.

Angela brings vibrant immediacy to her figurative paintings. She uses a depth of colour and bright outlines of her figures to emphasize shape and contours. In all her works Angela gi...

Victoria Barr Spirit, 1974 Crayon on Paper Signed and dated lower right front Frame included Provenance: Fischbach Gallery, New York, NY This bright, abstract 1970s artwork was created by Victoria Barr, daughter of the legendary developer of the Museum of Modern Art, Alfred H. Barr. There is a Fischbach Gallery label on the back of the frame. The Fischbach Gallery was, for many years, the gallery of record for the American artist Alex Katz. It is not easy finding Barr's work on the market at this time. Measurements: Framed: 23 inches x 29.5 inches x .5 inches Artwork: 23 inches x 29 inches Victoria Barr was born in New York, NY, in 1937 to the legendary MOMA curator and art historian Alfred H. Barr, Jr. and art historian Margaret Scolari Barr. Barr often traveled to Europe with her parents from the age of 14 onwards, meeting influential artists like Pablo Picasso, Henri Matisse, and Marc Chagall and collectors like Peggy Guggenheim. For high school, she went to Milton Academy...

Oil Pastel on archival 150g grey paper by Amanda Andersen. One in a series of three drawings by Amanda Andersen created during an artist residency at the Vermont Studio Center in 201...

Oil Pastel on archival 150g grey paper by Amanda Andersen. One in a series of three drawings by Amanda Andersen created during an artist residency at the Vermont Studio Center in 201...

"My work principally consists of deeply abstracted figure compositions--intuitive constructions that begin with random marks establishing larger masses of torsos, heads, and limbs in an undefined setting. The emphasis is almost purely on intuition. The figures are born of their surrounding environment, emerging only partially and fugitively from the layers of pigment. A narrative is evident but never overt. A crown, a shield, a boat, a wheel. Though the subject has recently coalesced around my reading of Dante and Shakespeare, the settings remain extremely vague- a beach, an interior, a woodland. The paintings are, in the end, meditations on the relationship between the protagonists in a wordless drama. In my paintings, I use a cold wax medium...

Oil Pastel on archival 150g grey paper by Amanda Andersen. One in a series of three drawings by Amanda Andersen created during an artist residency at the Vermont Studio Center in 201...

"My work principally consists of deeply abstracted figure compositions--intuitive constructions that begin with random marks establishing larger masses of torsos, heads, and limbs in...

"My work principally consists of deeply abstracted figure compositions--intuitive constructions that begin with random marks establishing larger masses of torsos, heads, and limbs in...

"My work principally consists of deeply abstracted figure compositions--intuitive constructions that begin with random marks establishing larger masses of torsos, heads, and limbs in...

"My work principally consists of deeply abstracted figure compositions--intuitive constructions that begin with random marks establishing larger masses of torsos, heads, and limbs in an undefined setting. The emphasis is almost purely on intuition. The figures are born of their surrounding environment, emerging only partially and fugitively from the layers of pigment. A narrative is evident but never overt. A crown, a shield, a boat, a wheel. Though the subject has recently coalesced around my reading of Dante and Shakespeare, the settings remain extremely vague- a beach, an interior, a woodland. The paintings are, in the end, meditations on the relationship between the protagonists in a wordless drama. In my paintings, I use a cold wax medium...

"My work principally consists of deeply abstracted figure compositions--intuitive constructions that begin with random marks establishing larger masses of torsos, heads, and limbs in...