Paper Drawings and Watercolor Paintings

Italian painter Silvia Pavarini is known for her distinctly feminine artworks that resonate with the quiet whispers of nature. Each piece she creates embodies an ongoing dialogue wit...

This unique work of ink on paper is framed in a black frame with Anti Reflective glass. It is currently on exhibition at the Hearst foundation building in Manhattan as part of the Ar...

This is an exclusive handprinted limited edition cyanotype. "Calming Sea Ripples" is a handmade cyanotype print portraying the subtle movements and abstract ripples of the open sea. ...

Charles HORTIN (Attributed to) (XIX) Black chalk and white gouache Signed lower right 12 x 16 cm

Image Dimensions: Image 9" x 19" Sheet Dimensions: 15" x 20.25" Medium: Watercolor, ink, and graphite on paper laid to board This is an unsigned study for the 38" H x 75" W oil pain...

Children Amongst Foxgloves - Female Illustrator of The Golden Age by a female illustrator of The Golden Age Watercolor on paper, signed 'A. Bowerley' lower left. 11 x 20 in. (sight)...

Nazanin Moghbeli is a Persian American artist with training in Persian calligraphy, miniature painting, and music. She borrows techniques from Iranian calligraphy to create abstract ...

Still life with a basket 1970's, watercolor on paper, 76x55 cm Jekabs Arturs Springis (1907– 2004) Painter, Latvia 1924 – 1927 – he learned at Aizpute Secondary School 1927 – 19...

Erté (Romain de Tirtoff) 1892-1990 Russian-French Les travestis (The Transvestites) Signed “Erté” (lower right) Inscribed "No. 18.363 / Moi, j'aime le music-hall / Les Travestis" (en verso) Gouache on paper Erté’s costume...

Christopher Ganz Basilica di San Marco, Venezia, 2020 white ink, chalk & colored pencil on paper 12h x 18w in 30.48h x 45.72w cm CG0079 -ARTIST STATEMENT- ...

A small octopus is inked in the Japanese style of Gyo-Taku print making. Using sumi ink to "print" the octopus, the artist then embellishes it with colored pencil to convey an extraordinary dimensionality. By printing it on hand-made Mulberry paper, in this case a paper that mimics the undulating patterns of water, the artist achieves a beautiful aesthetic. The artwork is matted and framed in a white wooden frame measuring 18.25h x 24.25w x 1d inches. Jeff Conroy String of Pearls sumi ink and colored pencil on mulberry paper 12.50h x 18.50w in 31.75h x 46.99w cm JEC126 Gyotaku - A Japanese word translated from "gyo" meaning fish and "taku" meaning stone impression and is believed to get its inspiration from Chinese stone...

Watercolor, Ink and collage on paper Fred Borghesi is an Italian artist born in 1987 who lives and works in London, UK. He is above all a multidisciplin...

Charcoal on bamboo paper Doïna Vieru is an Ecuadorian-Moldavian artist born in 1978 who lives & works in France, Paris. She always preferred pas/pas/passionately the image to the wo...

Oil on paper Francine Ledieu is a French artist born in 1931 who lives and works in Paris, France. In the 50s, she was a student of Maurice Rocher who specialized in Sacred art. In the ’80s, Francine was a student of Jean Bertholle from the Saint Roch Academy. The artist had personal exhibitions at Maison Mansart from 1989 to 1993 and at Étienne de Causans Gallery in 1997. In 1998 & 2009 she exhibited at La Petite Galerie...

A bright and breezy still-life showing a variety of spring flowers informally arranged in a pink ceramic vase set on a stone ledge with a panoramic view beyond towards the ocean and ...

Estate stamped, lower left, 'Wm. A. Gaw' for William Alexander Gaw (American, 1891-1973) and painted circa 1935. William Alexander Gaw was born in San Francisco to an artistic famil...

Linda Stein, Profile Notation 418.015 - Signed Feminist LGBTQ+ Colorful Ink, Color Pencil, Graphite on Paper Drawing Profile Notation 418.015 is from Linda Stein's Profiles series-...

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

Mixed media on paper, framed 18 x 24 cm - 30 x 40 cm with white mat passe-partout Unique copy Signed on the front

keywords; surrealism, portrait, oil painting, earth tones, figurative painting, strangeness, contemporary surrealistic, unsettling, contemporary figurative painting, dreams, symbolic...

Joy by Rosie Phipps [2022] Joy is an original watercolour and gouache painting by artist Rosie Phipps, sold mounted. Featuring her gestural and expressive use of mark making to crea...

This delicate contemporary botanical drawing is made with silverpoint on light blue prepared 140lb Saunders Waterford cotton paper. The exploration of ephemerality, and the fragilit...

Provenance: Ivan E. Phillips, Montreal and New York, until 2023. The brothers Bartolomé Carducho and Vicente Carducho, both born and trained in Florence, settled in Spain where they made their careers. Vicente worked on numerous commissions for both the church and the Spanish court...

Lisa Fellerson’s paintings provoke an interplay and tension between line, shape, and color. With no preconceived idea in mind, she begins by dripping, scrapping, and gouging acrylic ...

The project is a series of ink drawings on different surfaces, depicting the solstices and equinoxes of the year through the overlapping of shadows at various times of the day. These...

Stow Wengenroth (1906-1978) original dry brush drawing, 1966 This work is a preparatory drawing for his lithograph “The Little Owl” Signed lower right, “Stow Wengenroth” Image measur...

Acrylic ink on paper. Paper size: 11.25" x 17" Frame size: 19.25" x 25" Charles Buckley lives and works in Brooklyn, NY. His current work, entitled “Striation Series,” demonstrates ...

The Black Panther Trials - In this historically significant work, African American Artist Vicent D. Smith functions as an Art Journalist/ Court Reporter as much as a Artist. Here, he depicts, in complete unity, 21 Black Panther Protestors raising their fist of defiance at the White Judge. Smith's composition is about utter simplicity, where the Black Panther Protestors are symmetrically lined up in a confrontation with a Judge whose size is exaggerated in scale. Set against a stylized American Flag, the supercilious Judge gazes down as the protesters as their fists thrust up. Signed Vincent lower right. Titled Panter 21. Original metal frame. Tape on upper left edge of frame. 255 . Panther 21. Framed under plexi. _____________________________ From Wikipedia In 1969-1971 there was a series of criminal prosecutions in New Haven, Connecticut, against various members and associates of the Black Panther Party.[1] The charges ranged from criminal conspiracy to first-degree murder. All charges stemmed from the murder of 19-year-old Alex Rackley in the early hours of May 21, 1969. The trials became a rallying-point for the American Left, and marked a decline in public support, even among the black community, for the Black Panther Party On May 17, 1969, members of the Black Panther Party kidnapped fellow Panther Alex Rackley, who had fallen under suspicion of informing for the FBI. He was held captive at the New Haven Panther headquarters on Orchard Street, where he was tortured and interrogated until he confessed. His interrogation was tape recorded by the Panthers.[2] During that time, national party chairman Bobby Seale visited New Haven and spoke on the campus of Yale University for the Yale Black Ensemble Theater Company.[3] The prosecution alleged, but Seale denied, that after his speech, Seale briefly stopped by the headquarters where Rackley was being held captive and ordered that Rackley be executed. Early in the morning of May 21, three Panthers – Warren Kimbro, Lonnie McLucas, and George Sams, one of the Panthers who had come East from California to investigate the police infiltration of the New York Panther chapter, drove Rackley to the nearby town of Middlefield, Connecticut. Kimbro shot Rackley once in the head and McLucas shot him once in the chest. They dumped his corpse in a swamp, where it was discovered the next day. New Haven police immediately arrested eight New Haven area Black Panthers. Sams and two other Panthers from California were captured later. Sams and Kimbro confessed to the murder, and agreed to testify against McLucas in exchange for a reduction in sentence. Sams also implicated Seale in the killing, telling his interrogators that while visiting the Panther headquarters on the night of his speech, Seale had directly ordered him to murder Rackley. In all, nine defendants were indicted on charges related to the case. In the heated political rhetoric of the day, these defendants were referred to as the "New Haven Nine", a deliberate allusion to other cause-celebre defendants like the "Chicago Seven". The first trial was that of Lonnie McLucas, the only person who physically took part in the killing who refused to plead guilty. In fact, McLucas had confessed to shooting Rackley, but nonetheless chose to go to trial. Jury selection began in May 1970. The case and trial were already a national cause célèbre among critics of the Nixon administration, and especially among those hostile to the actions of the FBI. Under the Bureau's then-secret "Counter-Intelligence Program" (COINTELPRO), FBI director J. Edgar Hoover had ordered his agents to disrupt, discredit, or otherwise neutralize radical groups like the Panthers. Hostility between groups organizing political dissent and the Bureau was, by the time of the trials, at a fever pitch. Hostility from the left was also directed at the two Panthers cooperating with the prosecutors. Sams in particular was accused of being an informant, and lying to implicate Seale for personal benefit. In the days leading up to a rally on May Day 1970, thousands of supporters of the Panthers arrived in New Haven individually and in organized groups. They were housed and fed by community organizations and by sympathetic Yale students in their dormitory rooms. The Yale college dining halls provided basic meals for everyone. Protesters met daily en masse on the New Haven Green across the street from the Courthouse (and one hundred yards from Yale's main gate). On May Day there was a rally on the Green, featuring speakers including Jean Genet, Abbie Hoffman, Jerry Rubin, and John Froines (an assistant professor of chemistry at the University of Oregon). Teach-ins and other events were also held in the colleges themselves. Towards midnight on May 1, two bombs exploded in Yale's Ingalls Rink, where a concert was being held in conjunction with the protests.[4] Although the rink was damaged, no one was injured, and no culprit was identified.[4] Yale chaplain William Sloane Coffin stated, "All of us conspired to bring on this tragedy by law enforcement agencies by their illegal acts against the Panthers, and the rest of us by our immoral silence in front of these acts," while Yale President Kingman Brewster Jr. issued the statement, "I personally want to say that I'm appalled and ashamed that things should have come to such a pass that I am skeptical of the ability of a Black revolutionary to receive a fair trial anywhere in the U.S." Brewster's generally sympathetic tone enraged many of the university's older, more conservative alumni, heightening tensions within the school community. As tensions mounted, Yale officials sought to avoid deeper unrest and to deflect the real possibility of riots or violent student demonstrations. Sam Chauncey has been credited with winning tactical management on behalf of the administration to quell anxiety among law enforcement and New Haven's citizens, while Kurt Schmoke, a future Rhodes Scholar, mayor of Baltimore, MD and Dean of Howard University School of Law, has received kudos as undergraduate spokesman to the faculty during some of the protest's tensest moments. Ralph Dawson, a classmate of Schmoke's, figured prominently as moderator of the Black Student Alliance at Yale (BSAY). In the end, compromises between the administration and the students - and, primarily, urgent calls for nonviolence from Bobby Seale and the Black Panthers themselves - quashed the possibility of violence. While Yale (and many other colleges) went "on strike" from May Day until the end of the term, like most schools it was not actually "shut down". Classes were made "voluntarily optional" for the time and students were graded "Pass/Fail" for the work done up to then. Trial of McLucas Black Panther trial sketch...

Richly-hued oil pastel drawing of boats docked in a European harbor by artist E. Bachmann, 1955. Original artwork on paper displayed on a white mat with a gold border. Archival pla...

This sensitively rendered though powerful ink on paper was created in 1946 shortly after Loew returned from active duty where he served at the US Naval airbase on Tinian Island, the ...

Four Horse Head Studies William Henry Dethlef Koerner (German, American, 1878-1938) Pencil on Paper Signed Lower Left 9 x 7 inches 16 x 14 inches with frame William Henry Dethlef Koerner is renowned as one of the master illustrators of America's Wild West, ranking with Frederic Remington, Charles M...

Carl Hofer (German, 1875 – 1955) Abstracted form Pencil and pen and ink on paper Signed with monogram ‘CH’ (lower right) 11.3/8 x 7.1/2 in. (28.8 x 19 cm.) Provenance: These works c...

Lisa Fellerson’s paintings provoke an interplay and tension between line, shape, and color. With no preconceived idea in mind, she begins by dripping, scrapping, and gouging acrylic ...

Margot Glass reimagines color and tone, using luminescent ink to translate vivid shades into bursts of white-gold. Ever-interested in fragility and ephemerality, Glass lingers over t...

This intense abstract watercolor has drawed on sheet of Fabriano paper, an Italian high quality paper specially made for artists and its artworks. About Keller arworks was told many words but we want to add that every time we look at his creations we can feel at once his whole world. Erich Keller...

'Jungalow' 2021 by Kate Roebuck. Ink and watercolor on handmade watercolor paper with decked edge. 30 x 22 inches. This work features a classic botanical ...

Classic c1902 pen & ink sketch depicting two smartly hunt- attired Brit 'chaps' discussing, 'You look as if you had sport in at the kill?... Well, no I was in at the ditch and in at ...

Ink & watercolor on paper Doïna Vieru is an Ecuadorian-Moldavian artist born in 1978 who lives & works in France, Paris. She always preferred pas/pas/passionately the image to the w...

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

Studio stamp of Gromaire, lower center Provenance: Atelier of the artist Notes: A typical Normandy beach scene, perhaps near Deauville or Trouville.

Erté (Romain de Tirtoff) 1892-1990 Russian-French Fleurs du Mal(The Flowers of Evil) Signed "Erté" (lower right) Inscribed 114.6 (en verso) Gouache on paper Captivating and vibrant, this colorful gouache entitledFleurs du Mal showcases Erté's masterful creativity and keen eye. Inspired by Les Fleurs du mal, the famed volume of poems by French writer Charles Baudelaire, this ensemble marries light purple and green floral motifs with the suggestive form of red lips poised for a smooch. This daring yet feminine appearance encapsulates the Art Deco allure for which the artist's creations are cherished. The sophisticated arrangement emanates the fundamental richness and theatricality that can only be accomplished by Erté, often hailed as the "Father of Art Deco." First published in 1857, Baudelaire's Les Fleurs du mal was controversial for its suggestive content and themes of decadence and eroticism. The volume provided a wealth of inspiration for Erté and he drew from several themes to create original fashion sketches...

Nathan Brad Hall Haven charcoal on paper 18h x 24w 45.72h x 60.96w cm NBH004 Framing Options Available Nathan Brad Hall lives and works in Brooklyn...

Rick Sindt's knowledge of the male physique is evident in this exquisite drawing of a nude male. The subject sits on the ground with his body twisted away from the viewer. We see the defined musculature of his posterior. The artwork is framed in white wood with a black mat. Rick Sindt The Body is a History graphite on archival paper 12h x 9w in 30.48h x 22.86w cm RIS026 Shifting the historic male gaze into a male-on-male gaze, this body of work anchors its exploration of queer culture in relationships and introspection. Beginning with a survey of several photo archives, I overwhelmingly encountered pictures that fit into two distinct categories: spectacular demonstrations or public displays of sexuality. All of these images were overtly political. Then, I began to find a subset of more intimate images. Typically, these were images submitted by loved ones or donated to foundations after someone’s death. These images depicted common, tender scenes. Working my way through these images, I reflected on D. A. Miller’s assertion that gay identity, to which we have entrusted our politics and ethics, stands in an essentially reductive relation to the queer desires on which it is based. And David Halperin’s argument that, “identity has become the preferred category for thinking about homosexuality. Moreover, it has been promoted at the direct expense of pleasure or feelings or subjectivity.” This left me asking the questions: how is queer culture transmitted if not genealogically? Is there a universal queer experience? What is queer sensibility and subjectivity and can it be visually represented? Rick Sindt b. 1990, Hastings, MN, EDUCATION 2013 North Park University, Chicago, IL - BFA Magna Cum Laude SOLO EXHIBITIONS 2016 Two Countries, Rogue Philanthropy, Chicago, IL 2013 Tides, Erosion or Catch, Pull, Recover; The-One-Right-Now, North Park University; Chicago, IL GROUP EXHIBITIONS 2016 Are We Not of Interest to Each Other, Uptown Arts Center, Chicago, IL Reinventing Ourselves From Another Point-of-View, Contemporary Gallery at Zhou B. Arts Center, Chicago, IL Collective: Process, Beans and Bagels, Chicago, IL 2015 Collective: for(a)ging, Hammond Art Center; Hammond, IN How We Make It, The Arts of Life, Chicago, IL Collective: One, Albany Park...

Sandy Litchfield found peace and inspiration in regular solitary walks through nature throughout the pandemic. Her most recent body of work diaristically documents her constitutional...

"The Weaver" Series inviting viewers into a world where memory and present interweaving in a mesmerizing display of visual creativity. - An Artist Proof's of only Three is offered as...

"Second Theme" 1949 Abstract Mid 20th Century Geometric Non-Objective Hard Edge Burgoyne A. Diller (American, 1906-1965) "Second Theme" 1949. Pencil and crayon on paper. Signed and dated 'D. 49' (lower right). Image: 9 1/2 x 5 1/2 in. Andre Emmerich Gallery, New York. Martha Jackson Gallery, New York. Anderson Gallery, Buffalo, New York. David K. Anderson Grandchildren's Trust. BURGOYNE DILLER (1906-1965) Recognized as the first American painter to embrace the tenets of Neo-Plasticism, Burgoyne Diller made an important contribution to the development of non-objective art in the United States. Working in a hard-edged geometric style, he produced paintings, drawings, and collages that paved the way for the development of American Minimalism during the 1960s and 70s. Born in New York City in 1906, Diller began painting and drawing as a teenager growing up in Battle Creek, Michigan. Later, while attending Michigan State University in East Lansing on an athletic scholarship, he made weekend visits to the Art Institute of Chicago, where he familiarized himself with Impressionist and Post-Impressionist painting. He was especially drawn to the landscapes and still lives of Paul Cézanne, who modeled color to create structure and volume. In 1929, Diller moved to Manhattan and enrolled at the Art Students League, where his teachers included such progressive-minded painters as Jan Matulka, Hans Hofmann, and George Grosz. Hofmann's concept of the "push-pull" effect of form and color exerted a strong influence on his early work, as did his growing familiarity with Analytical and Synthetic Cubism, German Expressionism, and other vanguard European styles. Diller had the opportunity to see some of this work firsthand, but he also kept abreast of developments abroad by reading journals such as Cahiers d'Art. Diller completed his studies at the League in 1933, the year he had his first solo exhibition at the Contemporary Arts Gallery in New York. It was around this time that his paintings began to show the influence of the reductive, pared-down geometric compositions of the Dutch Constructivist Piet Mondrian and the equally restrained compositions of Kasimir Malevich and El Lissitsky...

Signed lower right, 'Albert Blaisdell' (American, 20th century) and painted circa 1975. A watercolor and cartoon artist, Albert Blaisdell began his career in art after being wounded...

Artist Statement I'm drawn towards nature imagery that depicts isolated elements in their continual struggle to flourish under desolate circumstances. The seemingly bleak, the empty...

Grasshopper Paper, mixed media, 21x30 cm Juris Utāns (1959-2022) was a Latvian painter. Worked in the field of critical realism, socially active and political art. Juris Utans' wo...

David Becker b. 1937 David H. Becker, painter, printmaker and educator, was born on August 16, 1937 in Milwaukee, Wisconsin. He studied at the Milwaukee State Teachers College, the Layton School of Art between 1956 and 1958, the University of Wisconsin-Milwaukee, and the University of Wisconsin-Madison where he enrolled in the science curriculum. After a chance meeting with Warrington Colescott, department chair of the art department, Becker decided on a career in art and received his BFA degree in 1961. After graduation he served for two years in the US Army and then entered a graduate studies program at the University of Illinois at Urbana-Champaign and earned his MFA in 1965. ------- Becker moved to Detroit after receiving his degree and joined the faculty at Wayne State University where he taught life drawing. In 1985 he left Detroit to join the faculty of the University of Wisconsin-Madison and he retired from teaching in 2006. His first solo exhibition was mounted in 1968. About 1970 Becker turned most of his attention towards printmaking as he could not paint and create prints during the same period of time and was pulled toward printmaking. He stated that he enjoys “putting images together in an unpredictable fashion.” Becker worked slowly and an etching plate could take up to two years to complete and he ultimately only produced thirteen prints. His etchings were included in the Twenty-fourth National Exhibition of Prints at the Library of Congress in 1975; the Third American Biennial of Graphic Arts at the Museo de Arte Moderno in Cali, Columbia in 1976, winning the gold medal; and Brooklyn Museum National Print Exhibition. His work was included in the Ninth British International Print Biennale in Bradford, England in 1986; the 162nd and 165th Annual at the National Academy of Design in 1987 and 1990. Becker was elected an Associate of the National Academy of Design in 1983 and elevated to full Academician in 1991. He received a Visual Artists Fellowship from the National Endowment for the Arts which helped him transition back into painting. He also received the University of Wisconsin Chancellor’s Faculty Development Award in the Creative Arts in 1996 and 1999. He is a member of and exhibited with the Boston Printmakers, Society of American Graphic Artists, and the Philadelphia Print Club. In the late 1990's and early aughts, Becker returned to painting and drawing full time. David H. Becker is represented in the collections of the Brooklyn Museum, the Art Institute of Chicago, the Detroit Institute of Arts Museum, and the Smithsonian Museum of American Art. Exhibitions 2017 Figure8, Gallery Victor Armendariz, Chicago, IL Coming Attractions, Gallery Victor Armendariz, Cicago, IL 2012 Eye Teeth Group Show, Paint Creek Center for the Arts, Rochester, MI 2011 Art Chicago 2011, Merchandise Mart, Chicago, IL 2010 Art Chicago 2010, Merchandise Mart, Chicago, IL 2009 David Becker Retrospective, Ann Nathan Gallery, Chicago, IL Art Chicago 2009, Merchandise Mart, Chicago, IL The 184th Annual Exhibition of Contemporary American Art, National Academy Museum, NYC Selections, Ann Nathan Gallery, Chicago, IL 2008 Art Chicago 2008, Represented by Ann Nathan Gallery, Merchandise Mart, Chicago, IL 2007 Unruly Muse, Ann Nathan Gallery, Chicago, IL SOFA NY (Sculptural Objects Functional Art), Ann Nathan Gallery, 7th Regiment Armory, NY, NY Art Chicago, Merchandise Mart, Ann Nathan Gallery, Chicago, IL 2006 Palm Beach³, Ann Nathan Gallery, Palm Beach, FL 2005 SOFA NY (Sculptural Objects Functional Art), Ann Nathan Gallery, 7th Regiment Armory, NY, NY Art Chicago in the Park, Butler Field, Ann Nathan Gallery, Chicago, IL Ann Nathan Gallery, Chicago, IL Palm Beach³, Ann Nathan Gallery, Palm Beach, FL 2004 Contemporary Prints: National Academy Museum Collection, National Academy of Design, NYC Art Chicago 2004, Ann Nathan Gallery, Chicago, IL Fantastic & Visionary Art, touring exhibit: Orange, Manning, Riddoch, & Ballart Gallery, Australia Return of the Men, Peltz Gallery, Milwaukee, WI 2003 Art Chicago 2003, Ann Nathan Gallery, Chicago, IL Fantastic & Visionary Art, touring exhibit: Orange Regional Gallery, New South Wales, Australia National Academy of Design 178th Annual Exhibition, NY, NY 2002 Art Chicago 2002, Ann Nathan Gallery, Chicago, IL Art of the 20th Century, Ann Nathan Gallery, Park Ave. Armory, NY, NY Outsider Art Fair, The Puck Building @ Houston & Lafayette Sts., NYC Self and Other Portraits, Wisconsin Artists, Charles Allis Art Museum, Milwaukee, WI Return of the Men, Peltz Gallery, Milwaukee, WI 2001 Beyond the 50's, May 4 - July 1, Exhibit A, A Gallery of Art & Design, Birmingham, Michigan Outsider Art Fair, January 26-28, The Puck Building @ Houston & Lafayette Sts., NYC "FANTASTIC ART", April/May, Orange Regional Gallery, Orange NSW, Australia. David Becker: Etchings and Engravings, Ann Nathan Gallery, Chicago, solo exhibition of prints, February. 2000 Four person exhibition, Columbus State University, Columbus, Georgia, Oct. 31 - Nov. 27, 2000. 1999 National Academy 174th Annual Exhibition, NY University of Wisconsin-Madison Faculty, Elvehjem Museum of Art, Madison, WI Treasures Revealed: 19th and 20th Century American Works on Paper, National Academy, NY 1995 Bharat Bhavan International Biennial of Prints, Bhopal, India Contemporary Prints, Selections from John Szoke Gallery, NYC, Drew University, Madison, NJ Collection Update, 1994, National Academy of Design Museum, NY 1994 David Becker and Robert Sholties, Peconic Gallery, Suffolk Community College, Riverhead, NY In Black and White: Works by Four Printmakers, Atrium Gallery, University of Connecticut, Storrs Aesthetics of Athletics: Sports, Games, and Exercise, Charles A. Wustum Musem, Racine, WI GMI IX Award Winners, Art Center Gallery, Central Missouri State University, Warrensburg 1993 Take Home a Nude benefit auction, NY Academy of Art Graduate School Of Figurative Art, NY 1993 American Prints: Last Half 20th Century, Jane Haslem Gallery, Washingtion, DC Outstanding American Prints, Anderson Arts Center, Kenosha,WI National Academy of Design 168th Annual Exhibition, NY David Becker: Etchings, Davidson Galleries, Seattle, WA Portraits, Davidson Galleries, Seattle, WA 1992 The Print Fair, 7th Regiment Armory, NY 1991 166th Annual Exhibition, National Academy of Design, NY Alma College Collection, Detroit Institute of Arts, Detroit, Michigan Modes of Expression, Potsdam College, SUNY, Potsdam, NY 1990 With Nothing On, Prints and Drawings of the Nude, New Orleans Museum of Art, LA Prints by Printmakers, Staller Art Center, SUNY-Stonybrook, NY Publications/Reviews 2007 November 60 Years of North American Prints: 1947-2007, Boston U. Art Gallery, Boston, MA 2003 July 11 Isthmus, Madison, “Welcome to My Nightmare,” by Robert Cozzolino. 2001 March 14 The Wall Street Journal, "Time Off: A Week of Diversions." Review of Progressive Printmakers (LVM) exhibition. 2001 February Isthmus, Madison, "America's Printland," by Jennifer Smith. 2001 February Capital Times, "The Crowned Prints," by Kevin Lynch. 1999 July Progressive Printmakers: Wisconsin Artists & the Print Renaissance. 1995 – 1999 Who’s Who in America. 1993 Summer The Journal of the Print World, review. March 14 The New York Times, review. March 12 The Daily Oklahoman, review. 1990 Dec. 13 The Capital Times, review. April 28 The Washingtion Post, review. March 25 The New York Times, review. Summer The Journal of the Print World, review. Selected Collections - additional collections available on requestArkansas Arts Center Foundation, Little Rock, AR Art Institute of Chicago, Chicago, IL Brooklyn Museum, NYC Butler Institute of American Art, Youngstown, OH Detroit Institute of Art, Detroit, MI Elvehjem Museum of Art, U of Wisconson-Madison Honolulu Academy of Arts, Honolulu, HI Library of Congress, Washington, DC Metropolitan Museum, Miami, FL Museo de Arte Moderno, Cali, Columbia National Academy, NY, NY National Museum of American Art, Washington, DC New York Public Library, NY Portland Art Museum, Portland, Oregon Rose Art Museum, Brandeis University, MA United States Information Agency, Prague, Czech. Alberta College of Art, Alberta, Canada Albion College, Albion, MI Alma College, Alma, MI Art Center, South Bend, IN AT&T Corporate HQ, Plainfield, NJ Boston Printmakers, Boston, MA Bradley University, Peoria, IL Columbia Green Community College, Hudson, NY Columbus State University, Columbus, GA Davidson College, Davidson, NC Dickinson College, Carlisle, PA Georgia State University – Atlanta Hope College, Holland, MI Hunterdon Art Center, Clinton, NJ Kansas State University, Manhattan, KS Madison Art Center, Madison, WI Marui Imai Inc., Sapporo, Japan Milwaukee Art Center, Milwaukee, WI Minot Art Association, Minot, ND North Carolina Print/Drawing Society, Charlotte, NC North Texas State University – Denton Ohio University – Athens Oklahoma Art Center, Oklahoma City, OK Oklahoma State University, OK Quad Graphics, Milwaukee, WI Silvermine Guild of Arts, New Canaan, CT Springfield College, Springfield, MA St. Lawrence University, Canton, NY State University of New York – Fredonia State University of New York – Potsdam Trenton State College, Trenton, NJ University of Arizona Museum of Art, Tucson, AZ University of Colorado-Boulder University of Dallas, TX University of Louisville, Louisville, KN University of Manitoba, Winnipeg, Canada University of North Dakota – Grand Forks University of South Dakota – Vermillion University of Tennesse – Knoxville West Chester State College, West Chester, PA Western Kentucky University – Bowling Green Private Collections Carla Leighton, New York, NY Marc Hauser...

Rosanna Gaddoni (Italian artist) Story of a sheep 65 x 50 cm ( framed in wood frame with museum glass) Measurement with included frame: 76 x 60 x 3 cm Charcoal on Paper The Italian ...

Snakes Head Fritillary [2021] original Coloured pencil on 150gsm paper Image size: H:30 cm x W:20 cm Complete Size of Unframed Work: H:30 cm x W:20 cm x D:0.01cm Sold Unframed P...

Tsuguharu Foujita 1886-1968 Japanese-French Portrait of a Mother and Child Signed “Foujita / Paris” (lower left) Ink and watercolor on paper An artistic luminary well ahead of his time, Tsuguharu Foujita burst onto the international art scene in the early 20th century as one of the most important artists in early Japanese modernism...

Canto #22 (Abstract work on paper) Ink, oil on paper - unframed This artwork will be shipped rolled in a dent-resistant tube. Harald Kröner works thoroughly with paper, of which h...

Born in Hollywood and raised in the urban sprawls of Los Angeles, Julio’s artistic aesthetic was shaped early on by the platinum light and expansive concrete horizons of southern Cal...

Untitled 560 (Abstract painting) Acrylic on paper - Unframed. The technique Johnson employs is extremely rigorous, involving, as he says, “pushing paint around with palette knives ...

Watercolour with a captivating motif from Pompeii, with Mount Vesuvius in the background and, in the foreground, an interior view from the Casa di Cornelio Rufo. Signed and dated "Po...

Ink on paper Liu Ziyu is a Chinese artist born in 1978 who lives and works in Beijing, China. He was graduated in 2020 from from the Stroganov Moscow State A...

Ex Libris 1982, paper, ink, gouache, 17,5х13 cm Information about artist: Gunārs Vīndedzis (1918 - 1991) - cartoonist, illustrator. Born in a fami...

A small octopus is inked in the Japanese style of Gyo-Taku print making. Using sumi ink to "print" the octopus, the artist then embellishes it with colored pencil to convey an extraordinary dimensionality. By printing it on Mulberry paper, which mimics the swirl of water, the artist achieves a beautiful aesthetic. The artwork is matted and framed in a simple white wooden frame measuring 18.25h x 24.25w x 1d inches. Jeff Conroy Lemon Meringue sumi ink and colored pencil on mulberry paper 12.50h x 18.25w in 31.75h x 46.35w cm JEC118 Gyotaku - A Japanese word translated from "gyo" meaning fish and "taku" meaning stone impression and is believed to get its inspiration from Chinese stone rubbings...