Pastel Drawings and Watercolor Paintings

Sketch is an original Drawing on paper realized by the painter Henri Lehmann (1814-1882). Drawing in Pastel. Good conditions. The artwork is represent...

Caryatids, Study for Bas-relief is an original drawing in china ink and pastel on brownish paper realized by an anonymous artist in the early 20th Century. Good conditions. The art...

London Thames View is a modern artwork realized by Herbert John Finn (1860-1942). Mixed colored ink, pastel and watercolor on paper. Includes gileded frame Hand signed and dated o...

This artwork titled "Pond #4" 1984 is an original soft pastel on paper by Swiss/American artist Ursula Schneider, b.1943. It is unsigned. The artwork size is 15 x 22 inches, framed size is 17.25 x 24.5 inches. Custom framed in a black metal frame. It is in excellent condition. About the artist: The work of Ursula Schneider include pastel drawings, paintings, small-scale sculptural paintings and woodcuts, working on one medium at a time. These processes complement and enrich each other by stimulating a fresh approach and allowing for experimentation. Drawing from observation in the landscape has been the basis for the work. She attended Kunstgewerbeschule in Zurich and Keramische Fachschule in Bern and holds an Undergraduate Degree in Ceramics from Switzerland. In 1968 she moved to the United States and graduated in 1972 with an MFA in Painting from the San Francisco Art Institute. She lived and worked in New York from 1980-2004 and taught painting at the San Francisco Art Institute, Cooper Union and Sarah Lawrence College. Grants And Awards: 1985 National Endowment for the Arts. Major Fellowship Grant 1976 San Francisco Art Festival Award 1974 The Oakland Museum. The New Talent Award 1968 Swiss Government Grant: Kunststipendium Selected Solo Exhibitions: Kunstmuseum Bern Switzerland UC Art Museum Berkley, CA Oakland Museum, CA Forum Febicus, Switzerland Selected Group Exhibitions: Museum of Fine Arts, Forth Worth, TX Biennial Exhibition Whitney Museum, NY San Francisco Museum, CA Los Angeles Institute of Contemporary Art, CA Rockland Center for the Arts, NY. Collections: UC Berkley Art Museum, Di Rosa Preserve in CA, U.S. Department of State, Auditorium Netzwerk, Germany, The Union Bank of Switzerland, UBS Security, Bell Savings Art Plus, Security Pacific Bank, CA, Swiss Bank...

Nude of Woman is an original pencil and pastel realized by René Lorrain (1873-?) The artwork in good condition except for some torn paper on the margins....

The Rat is an original drawing in pastels on paper realized by Leo Guida in 1973. Hand-signed in pencil and dated on the lower right. The state of preservation is good except for ...

Leon Dolice New York Harbor Nocturne Signed lower right Pastel on paper 12 x 19 inches The romantic backdrop of Vienna at the turn of the century had a life-long influence upon the...

"Interior of a House" is an original pencil, china ink and pastels drawing on ivory paper by Anonymous Artist of XIX Century. In very good condit...

Tree is an original pastels drawing artwork, realized by Marcel Guillard (1896 -?). The state of preservation is very good. The artist masterly created a pleasurable dreamlike scen...

Landscape in Lagny is an Original Pastel and Watercolour realized by Paul Alouard-Carny (1884-1961) in 1936. Good condition on a yellowed paper. Hand-signed by the artist on the lo...

Leon Dolice (1892 - 1960) New York Harbor (Brooklyn Bridge), circa 1930-40 Pastel on paper 12 x 19 inches Signed lower right Provenance: Spanierman Gallery, New York The romantic b...

Francesco Spicuzza (American, 1883-1962) Untitled Landscape, 20th century Pastel on paper Sight size: 24 x 30 in. Framed: 26 1/4 x 32 3/8 in. Signed lower right: Spicuzza Italian-born Francesco Spicuzza was primarily a Wisconsin painter who did portraits, still-lives and local landscapes. He spent the first part of his life in near-poverty to become a painter. An eternal optimist, in 1917, the artist reported: "I am happy and my only ambition now is to paint better and better until I shall have reached the measure of the best of which I am capable." (Spicuzza, 1917, p. 22). His predilection for beach scenes germinated early: reportedly, the five-year-old boy first drew the outlines of his father's fishing boat in the sand on the seashore near their home in Sicily. After setting himself up as a fruit peddler in Milwaukee, Spicuzza's father sent for his family when Francesco was eight years old. For the following six years the boy was unable to attend school because of his job in his father's fruit and vegetable business. The poor lad suffered a caved-in shoulder from carrying a heavy wooden crate. The young Spicuzza was aided by moral and financial support from a sympathetic Milwaukee businessman named John Cramer, publisher and editor of the Evening Wisconsin, who raised Spicuzza's salary as a newspaper assembler so that he could attend school. In 1899 or 1900, Spicuzza began studying drawing and anatomy under Robert Schade (1861-1912), a painter of panoramas who had been trained in Munich under Carl Theodor von Piloty. Spicuzza was also taught by Alexander Mueller (1872-1935), a product of the Weimar and Munich academies. Mueller realized Spicuzza was a colorist and encouraged that orientation (Madle, 1961). Spicuzza found it beneficial to accept an apprenticeship in a lithographic studio for $8 a week, which demanded most of his time. During the St. Louis Universal Exposition in 1904, still a struggling student, Spicuzza attended the fair, thanks to Cramer. It was not long before Spicuzza received a twenty-five dollar portrait commission, and this inaugural success led to new commissions and allowed him to continue as a painter. The earliest influences in his work appear to be from Edward H. Potthast and Maurice Prendergast, though Spicuzza never mentioned either artist. Already in August 1910, Spicuzza was described in a newspaper as "one of the most talented of Milwaukee's rising workers." He undoubtedly received lasting inspiration from his one summer study period in 1911 with John F. Carlson at the Art Students League's Summer School in Woodstock, New York. Certainly Spicuzza would have picked up spontaneity in handling the brush from Carlson. Although he executed numerous still-lives and an occasional religious work, Spicuzza is best known for his Milwaukee beach scenes populated with frolicking bathers in multi-colored attire, not unlike the images of Potthast, who used a similar technique. Many of these are small, preparatory works on canvas board executed between 1910 and 1915. Frequently with even greater animation than Potthast, Spicuzza produced moving images of youthful energy and uninhibited child's play. These beach genre scenes reflect the attitude of American impressionists who depicted the more pleasant side of life. Spicuzza manipulated a successful balance of rich pigment applied in varying degrees of impasto texture with subtle nuances of hue. Working all'aperto, he sought "the soft enticing shades of yellow, blue, green, pink and lavender . . . to get the effects of bright glistening summer air." (L.E.S., n.d.). As a painter whose color not only derived from direct observation but also from a personal theory of color symbolism, Spicuzza traded the linear approach of lithography for dynamic patches of brilliant color. Like Prendergast, he would often tilt the angle of the picture plane to bring the viewer's position above the scene. Spicuzza was unable to enter the 1913 Armory Show or the Panama-Pacific International Exposition two years later but he did submit work to the annual exhibitions of the Pennsylvania Academy of the Fine Arts and those of the Art Institute of Chicago. His first important award was the bronze medal presented by the St. Paul Institute in 1913, which was followed by the silver medal two years later. Before long, Spicuzza had acquired a greater sense of security in his profession and was described by a writer in International Studio (April 1917) as "an independent artist with an assured future. His pastels and water-colours are poetic and joyous bits of nature with a genuine out-of-door feeling." In 1918, his Spirit of Youth, exhibited at the National Academy of Design, sold for $112.50. Four years later, the artist achieved his greatest local recognition by winning the gold medal from the Milwaukee Art Institute. Spicuzza spent a great deal of time painting en plein air and by 1925 he began summering at Big Cedar Lake, near West Bend, Wisconsin to gather his subject matter. Easter Morning (1926) owes something to the Symbolist movement, with its figure of Christ appearing over a seascape. During the difficult era of the Depression, patrons came to Spicuzza's aid and during the 40s, he taught housewives, businessmen and students at the Milwaukee Art Institute, the Milwaukee Art Center, and in his private studio. In the following decade, although his kind of art was no longer popular in the "make-it-or-break-it" New York gallery world, Spicuzza enjoyed regular patronage and sales. His beach scenes became more static and he would experiment with modernist techniques. Spicuzza died at the age of seventy-eight. Sources: L.E.S., "Do Colors Change a Person's disposition? Experiments of a Milwaukee Artist...

This artwork "Untitled #5" c.1970 is a colors pastel and crayon on thick paper by American artist Jerry Opper, 1924-2014. It is hand signed in pencil at the lower right corner by the artist. The image size is 22 x 17 inches, sheet size is 24 x 19 inches. It is in excellent condition, there are pastel marks on the margin all around the artwork and also on the back, see picture #1. About the artist: Jerry Opper was born in Cleveland, Ohio, on September 5, 1924. He moved to Los Angeles with his family in 1933. After graduating from Hollywood High School, he worked in movie studios and attended art classes at Chouinard Art Institute. In May 1942, Opper was drafted into the army and was then able to study at the Colorado Springs Fine Arts Center while his outfit was stationed in Colorado. Later he was sent to Guam and was discharged in December 1945. Opper returned to Chouinard and his work in movie studios until 1947, when he moved to San Francisco. He enrolled as a full-time student at the California School of Fine Arts (now SFAI) and received his diploma in June of 1950. In 1948, Opper met his wife Gertrud Ruth Friedmann, daughter of artist Gustav Friedmann, whose works are also in the Lost Art Salon collection. It was love at first sight and a few weeks after their first encounter at the Black Cat in San Francisco's North Beach, they got married and enjoyed a passionate, life-long romance. Shortly after he finished school, Opper worked briefly as a decorator’s assistant and then started his career as a commercial artist, working for several firms such as Fibreboard, Beatrix Food and Precision. Working full-time and dedicating himself to having a rich family life occupied most of Opper's time, but he continued to be creative. He was above all a family man with the pride of having raised two exceptional daughters, Erika and Jody. Year after year, Opper would painstakingly craft their Halloween costumes...

Farmers in the landscape is a very beautiful pen and pastel drawing realized by Georges Conrad. The artwork is in very good conditions on paper. Georges Conrad (1874-1936) is a fa...

Still Life is an original pastel drawing on ivory-colored paper realized by Herta Haussmann (1892-1972). Not signed. The state of preservation is very good. Stamp of the artist's ...

Pastel or Tempera on paper. Judaica Shtetl scene of village. Anatoli Lwowitch Kaplan was a Russian painter, sculptor and printmaker, whose works often reflect his Jewish origins. h...

Figures is an original artwork in pastel realized by Pierre Léon Dusouchet in the late 19th Century. The state of preservation is good. The artwork represents mastery in delicate a...

This large scale pastel on toned archival paper is suitable for framing under glass to protect the soft pastel medium . It is signed and dated on the bottom left corner. The subject ...

Leon Dolice New York Harbor Nocturne Signed lower right Pastel on paper 12 x 19 inches The romantic backdrop of Vienna at the turn of the century had a life-long influence upon the...

Leon Dolice New York Harbor Nocturne Signed lower right Pastel on paper 12 x 19 inches The romantic backdrop of Vienna at the turn of the century had a life-long influence upon the...

Untitled, c. 20th Century Pastel on paper Sight: 21 1/2 x 31 in. Framed: 24 1/4 x 34 1/2 x 1 1/4 in. Signed lower left

Artist: Byron Brown (American 1907 - 1961) Title: Seated Nude Year: 1957 Medium: Pastel and Watercolor on Paper, signed and dated l.r. Size: 25.5 x 19.5 in...

Colorful abstract modern pastel drawing of a cowboy by Texas artist Robert Sandman. The work features a man dressed in vibrant clothes holding a cowboy ...

Paul César Helleu is regarded among the most sought-after society portraitists of his era, and his Belle Époque works rival those of his contemporaries John Singer Sargent and Giovanni Boldini. He is best remembered for capturing the era's most beautiful socialites, including Consuelo Vanderbilt, the Duchess of Marlborough, the Comtesse de Loriol Chandieu and the Comtesse Mathieu de Noailles, among others. This work, however, stands out in that it captures the charming likeness of one of his art world cohorts, Mathilde See, a Parisian-born decorator and painter of floral still lifes. She is the essence of the modern woman, captured in her fashionable dress as she strolls along the flower-lined streets of Paris. Commanding in size, Portrait de Mathilde See fully displays Helleu's mastery over the medium of pastel. The muted palette of greys and blues is typical of the artist, bringing a harmony and cohesiveness to the composition. Furthermore, Helleu cleverly alludes to See's own artistic output with a backdrop of vibrant floral blooms, enlivening the canvas and complementing the greens and blues of the peacock feather adorning her hat. The portrait is all the more significant thanks to its provenance. It was previously in the collection of A. Alfred Taubman, one of America's most successful entrepreneurs and one-time owner of Sotheby's. Considering Taubman encountered some of the most noteworthy and beautiful works of art ever made through his auction house, the fact that he chose this portrait by Helleu to grace his collection is a testament to its import. Born in Brittany in 1859, Helleu moved to Paris in 1876 in order to study at the École des Beaux-Arts. Like so many other artists of his generation, he was trained there under the Academic master Jean-Léon Gérôme. That same year, he also attended the Second Impressionist Exhibition...

These recently re-discovered 1984 oversize pastels on archival papers were created working quickly, in pastel. The series shows the last existing observational drawings prior to the artists switch to working with her non- dominant left hand. As a feminist, Anastasi's main focus is presenting other women. Unlike the often objectified male gaze...

Leon Dolice New York Harbor Nocturne Signed lower right Pastel on paper 12 x 19 inches The romantic backdrop of Vienna at the turn of the century had a life-long influence upon the...

Portrait of a Woman Pencil signed and dated Feb 20. 20 unframed 14x11 George Kenneth Hartwell painter and illustrator was born in Fitchburg 1891-1949, Massachus...

Wheat Field and House Oliviero Masi Italian (1948) Date: 1987 Pastel on paper, signed and dated lower right Size: 12 x 19 in. (30.48 x 48.26 cm)

This is a soft pastel on toned archival paper suitable for framing under glass . The artist has signed and dated the work on the bottom right.

Standing Nude drawing on gray paper Pencil signed and dated April 8, 21. Printmaker, painter and illustrator, George Kenneth Hartwell was born in Fitchburg 1891-1949, Massachusetts. He studied at the Art Students' League in New York City under Kenneth Hayes Miller, Edward Hopper, and George Bellows. His work was exhibited at the Art Institute of Chicago (1923), the Society of Independent Artists (1923), Salons of America (1928 and 1934), Library of Congress (1944-46), the Laguna Beach Art...

Pastel or Tempera on paper. Judaica Shtetl scene of village. This one depicts a Klezmer musician fiddler playing his violin. Anatoli Lwowitch Kaplan ...

Leon Dolice (1892 - 1960) New York Harbor Skyline at Twilight (Searching), circa 1930-40 Pastel on paper 12 x 19 inches Signed lower left Provenance: Spanierman Gallery, New York The romantic backdrop of Vienna at the turn of the century had a life-long influence upon the young man who was someday to be spoken of as showing promise of becoming "one of the greatest etchers of all time". Leon Dolice, born in Vienna on August 14, 1892, even as a young boy, preferred the lure of painting to the scholastic studies which his early years had expected of him. His father was a machinist, which exposed the boy to welding and metal crafts. However, his interest in art led him to abandon a secure future in the family business, and he spent most of his late teens and early twenties traveling through the capital cities of Europe studying the works of the Masters. As with many itinerant artists, he made his way in a variety of fashions metalworker, chef, designer somehow always managing to give vent to his creative instincts. Lured by the adventure of crossing the great Atlantic and by the freedoms of the New World, he came to America in 1920. There he was greeted by the turbulence of New York in the Roaring Twenties. Finding a retreat in the European Bohemianism of Greenwich Village, he picked the streets of this landmark neighborhood as his first subjects. With the encouragement of new found friends and artists such as George Luks and Herb Roth, he soon ventured out and devoted all his time to chronicling the architecture, back streets, dock scenes and other nostalgia that was fast disappearing from the face of Manhattan, mainly in copperplate etchings. A favorite subject for him was the Third Avenue El near one of his New York City studios on Third Avenue. He won accolades for his work, and although he traveled the East Coast recording landmarks in other cities including Washington DC, Baltimore, Chicago and Philadelphia, he always returned to his new home Manhattan. A decline in popular favor for etchings led him to put aside his plates in the late 1930's and devote some ten years to pastels, linocuts and painting. His subject matter was almost exclusively New York City street scenes, but figurative works, country scenes and even experiments with Abstract Expressionism at the height of its new found favor in the 1940's punctuated his career. In 1953, after learning of the forthcoming demise of the Third Avenue El, in the shadow of which he had maintained his studio for over a decade, he once again took to his plates and press and created a final series of Third Avenue and or other New York City landmarks that were then threatened with extinction. His work brings to light aspects of nostalgic New York that survives today only in small part, whether in architecture or in spirit. Dolice's works are in a number of notable museums and private collections, including the Museum of the City of New York; The New York Public Library Print Collection; The New York Historical Society; Georgetown University Lauinger Library; The Print Club of Philadelphia and others. In the past few years, his work has been exhibited at Hofstra Museum, Long Island, NY; with the Montauk...

This artwork "Untitled #1" c.1970 is a colors pastel and crayon on thick paper by American artist Jerry Opper, 1924-2014. It is hand signed in pencil at the lower right corner by the artist. The image size is 26.5 x 20.5 inches, sheet size is 28.5 x 22.5 inches. It is in excellent condition, there are pastel marks on the margin all around the artwork and also on the back, see picture #1. About the artist: Jerry Opper was born in Cleveland, Ohio, on September 5, 1924. He moved to Los Angeles with his family in 1933. After graduating from Hollywood High School, he worked in movie studios and attended art classes at Chouinard Art Institute. In May 1942, Opper was drafted into the army and was then able to study at the Colorado Springs Fine Arts Center while his outfit was stationed in Colorado. Later he was sent to Guam and was discharged in December 1945. Opper returned to Chouinard and his work in movie studios until 1947, when he moved to San Francisco. He enrolled as a full-time student at the California School of Fine Arts (now SFAI) and received his diploma in June of 1950. In 1948, Opper met his wife Gertrud Ruth Friedmann, daughter of artist Gustav Friedmann, whose works are also in the Lost Art Salon collection. It was love at first sight and a few weeks after their first encounter at the Black Cat in San Francisco's North Beach, they got married and enjoyed a passionate, life-long romance. Shortly after he finished school, Opper worked briefly as a decorator’s assistant and then started his career as a commercial artist, working for several firms such as Fibreboard, Beatrix Food and Precision. Working full-time and dedicating himself to having a rich family life occupied most of Opper's time, but he continued to be creative. He was above all a family man with the pride of having raised two exceptional daughters, Erika and Jody. Year after year, Opper would painstakingly craft their Halloween costumes...

Charcoal, pastel lace Audrey Anastasi states: "The paper doll series was created first in the presence of a live model, working quickly, in charcoal an...

Provenance The artist; Collection of Henry Dubin, Philadelphia until 2018 Exhibitions Avery Galleries, Bryn Mawr, Pennsylvania, Living Color Modern Life: Hugh Henry Breckenridge and Arthur B. Carles, October 5-November 2, 2018. The Philadelphia modernist Arthur B. Carles was a brilliant colorist and an extraordinarily innovative painter. Though Carles trained initially at the Pennsylvania Academy of the Fine Arts, soaking up the more conservative teaching of William Merritt Chase and Thomas Anshutz, he was deeply influenced by the avant-garde art scene in Paris during his first trip there in 1905. In 1907, Carles won the prestigious Cresson Traveling Scholarship, which enabled him to return to Paris for several more years. This experience had a profound impact on Carles as an artist; he was extremely affected by modern French painting, especially the work of Cezanne and Matisse, and by the time Carles returned home to Philadelphia in 1912, he was a confirmed modernist. This small landscape sketch was probably painted early during Carles's career, and yet, it already reveals his strong interest in abstraction. Indeed, Landscape Abstraction demonstrates both his daring exploration of lyrical color harmonies as well as his interest in two-dimensional surface design. Painted loosely in the spontaneous medium of watercolor, Carles used thin washes and delicate pools of paint to suggest the foreground area and surrounding trees. His color palette is rich and expressive, ranging from pale greens and blues to deep red, yellow, and even purple. In addition to his remarkable career as an artist, Carles was also an incredibly gifted teacher. He taught at PAFA from 1917 to 1925 and had a very deep impact on a number of his students such as Morris Blackburn, Quita Brodhead, and Jane Piper...

Jogen Chowdhury : Untitled Pastel on Envelop ; 7 x 5 inches ; 2016 Signed by the Artist. Style : He has immense contribution in inspiring young artists of India. Jogen Chowdhury ha...

Signed lower left 'Creech PSWC' and created circa 1975 A compelling pastel study showing the subject dressed in brightly-colored ceremonial robes and gazing past the viewer. An eleg...

Flowering Field Oliviero Masi Italian (1948) Date: 1987 Pastel on paper, signed and dated lower right Size: 10.5 x 13 in. (26.67 x 33.02 cm)

Hans Burkhardt frequently used live models for his figural pastels, which he maintained an interest in throughout his long career. Untitled (1972) Pastel on paper, 25" x 19" 28" x 2...

Barbara Keidel Untitled Abstract in Beige Pastel Drawing on Paper 1995 Signed and dated in pencil Size: 6.25 x 7.5 inches (15.875 x 19.05 cm) COA provided *Framing options avail...

Nude of little girl is an original pencil and pastels drawing on ivory paper by Anonymous Artist of the Early 20th Century. In very good condition...

B.J.O. NORDFELDT (Swedish/American 1878 – 1955) (WINDMILL AND WORKERS). c.1900. Color pastel on colored paper, unsigned. 22 ¼ x 15”. Sheet: 24 ½ x 18 ¼”. In 1900 Nordfeldt studied ...

Robert Philipp, 'Self-Portrait with Black Hat', ink and color pastel, c. 1945. Signed in ink, lower right. A fine, spontaneous drawing, on heavy, buff wove paper; the artist's tack holes in the top and bottom left sheet corners, minor rippling in the bottom sheet edge; otherwise in good condition. Image size 16 1/4 x 11 1/4 inches; sheet size 19 1/4 x 12 3/4 inches. Matted to museum standards, unframed. Provenance: Art Students League, from the artist’s personal portfolio. ABOUT THE ARTIST Robert Philipp (1895–1981) was a celebrated American Post-Impressionist painter known for his nudes, still lifes, and portraits. Noted art critic Henry McBride named Philipp one of America's top six painters of his generation. Philipp was an instructor of painting at the Art Students League, New York, for 33 years. Philipp was Secretary of the National Academy of Design, a National Academician, and a Benjamin Franklin Fellow at the Royal Society of Arts in London. His composition and painting style has been compared to the art of Edgar Degas and Pierre Auguste Renoir. In 1940, Philipp was invited to Los Angeles by Hollywood producer Louis B. Mayer to paint portraits of Metro-Goldwyn-Mayer movie stars. The same year, Walter Wanger, producer of ‘The Long Voyage Home’, directed by John Ford and based on plays by Eugene O'Neill, contracted with Reeves Lewenthal, head of the Associated American Artists gallery in Manhattan, to bring nine well-known artists to the set and paint scenes from the movie and portraits of the actors in character. The artists included Robert Philipp, Thomas Hart Benton, Grant Wood, Ernest Fiene, George Schreiber, Luis...

Signed lower left, 'Byron' for Byron Randall (American, 1918-1999), dated 1947 and titled, 'Aus'. A dramatic, Post-Impressionist view of the Western Australian port of Fremantle wit...

Pastel on paper, signed and dated 19'75' bottom right Image size: 6 1/2 x 7 1/2 inches (16.5 x 19 cm) Mounted and framed Peter Gardner Peter Gardner was born in London in 1921.  He...

Vincente Romero Thoughtfulness Original pastel on Ingres paper Hand signed by the artist Image: 25.6 x 19.7 inches Framed dimensions: 32 x 26 inches *T...

Jim’s of Lambertville is proud to offer this artwork by: Gershon Benjamin (1899-1985) An American Modernist of portraits, landscapes, still lives, and the urban scene, Gershon Benj...

Frank Campanella (American, 1922-2016), "Untitled: Portrait of A Blond Male", Figurative Portrait done in Charcoal on Brown Charcoal Paper Unsigned, 20 x 14, Late 20th Century Colors: Black, Red, White, Gray, Blue, Brown, Yellow "Untitled: Portrait Of A Blonde Male" is a Modern Figurative Portrait capturing a side profile of a young but mature male subject with a distinctive mustache. He's dressed in a red shirt with white pinstripe on the shoulder. His hair is a light dirty blond with lighter beige highlight with light bluish-grayish eyes, pointed nose with fuller lips. Frank Campanella is a listed artist known for New Jersey landscapes...

'The Kids', pastel on paper (1967), by Raymond Dèbieve. Picasso's influence is undeniable in this artwork yet Dèbieve's own naive artistic style is on display ...

Nude Ladies Sketch French School, circa 1960's chalk and pastel on artists paper, unframed size: 18.75 x 12 inches condition: very good and ready to be enjoyed provenance: private c...

Jim’s of Lambertville is proud to offer this artwork by: Gershon Benjamin (1899-1985) An American Modernist of portraits, landscapes, still lives, and the urban scene, Gershon Benj...

Jim’s of Lambertville is proud to offer this artwork by: Gershon Benjamin (1899-1985) An American Modernist of portraits, landscapes, still lives, and the urban scene, Gershon Ben...

Joseph Hirsch, American (1901 - 1981) - Resting Girl, Year: circa 1960, Medium: Pastel on Paper, signed in pencil top left, Size: 12.25 x 19.75 in. (31.12 x 50.17 cm), Frame Siz...

Work on cardboard

Françoise GILOT (1921-) Woman in the Hammam Original Pastel Drawing Signed bottom right On paper 74 x 55 cm at view (c. 30 x 22 in) Presented in golden wood frame 96 x 77 cm (c. 38...

This pastel painting by Catherine Bres-Rhocanges (1947 -) is titled "Group of Bathers" and signed in the bottom right corner Bres-Rhocanges. Catherine Bres-Rhocanges paints women wit...

Robert King. English ( b.1936 ). Gymnast. Dancer. Pastel On Paper. Signed Lower Left. Image size 7.5 inches x 5.7 inches ( 19cm x 14.5cm ). Frame size 14 inches x 11.6 inches ( 35....

Alfredo Opisso Cardona (1907-1980) - Jota - Pastel Measures work 46x36cm. Frame measures 65x55 cm.