Pastel Drawings and Watercolor Paintings

A romantic late 18th-century pastel portrait, attributed to the German portraitist Johann Heinrich Wilhelm Tischbein (1751-1829). Exquisitely presented in its original giltwood frame...

Work on tracing paper Workshop stamp on the back of the work

This piece is framed measuring 33 by 27 inches. Based in Carrollton, Georgia, Erin Dixon is a mixed media artist whose work bridges realism and surrealism. Her work is often heavily...

Drawing on paper is his basic work tool, some are sketches of his surviving works, and others are sketches of moments he documents. Throughout his artistic career, Castro has exalt...

For your hockey enthusiast! A ca. 1950s, pastel & charcoal on paper drawing of a hockey game by artist Francis Chapin. Artwork size: 9" x 12". Matted to: 14" x 18". Provenance: Estate of the artist. Francis Chapin, affectionately called the “Dean of Chicago Painters” by his colleagues, was one of the city’s most popular and celebrated painters in his day. Born at the dawn of the 20th Century in Bristolville, Ohio, Chapin graduated from Washington & Jefferson College near Pittsburgh, Pennsylvania before enrolling at the Art Institute of Chicago in 1922. He would set down deep roots at the Art Institute of Chicago, exhibiting there over 31 times between 1926 and 1951. In 1927 Chapin won the prestigious Bryan Lathrop Fellowship from the Art Institute – a prize that funded the artist’s yearlong study trip to Europe. Upon his return to the United States, Chapin decided to remain in Chicago, noting the freedom Chicago artists have in developing independently of the pressure to conform to pre-existing molds (as was experienced by artists in New York, for example). Chapin became a popular instructor at the Art Institute, teaching there from 1929 to 1947 and at the Art Institute’s summer art school in Saugatuck, Michigan (now called Oxbow) between 1934 – 1938 (he was the director of the school from 1941-1945). Chapin’s contemporaries among Chicago’s artists included such luminaries as Ivan Le Lorraine Albright...

Oil on canvas realized by Sirio Pellegrini in 1965. Hand signed in the lower left. Includes a wooden frame 32x37 cm. Very good condition. Sirio Pellegrini, born in Rome on March ...

Contemporary abstract expressionist pastel of a Provençal landscape ' Chemin Privé b.' by Dutch artist Bernadette Van Baarsen. Signed and...

Charles Hinman Untitled Geometric Abstraction (Hand Signed), 1980 Pastel & Graphite painting on Paper Signed and dedicated to "Michael and Rene" in graphite by the artist on the fron...

Nude Lady Study French School, circa 1960's chalk and pastel on artists paper, unframed stamped size: 18 x 12.5 inches condition: very good and ready to be enjoyed provenance: priv...

A chalk and crayon study for a scuplture by French female artist Marie-Josèphe Bourron. Presented in modern frame with mount under glass. Though not signed the drawing was acquired d...

'Study for Connecticut at Putney' is an original pastel drawing by American artist Wolf Kahn. The landscape is an exploration of color and light: it is rendered in cool blues and purples with fields of subtle yellow, the pastels treated with the same gesture as Kahn's paintbrush on a canvas. Indeed, this pastel was a study executed en plein air for a painting – the painting now sometimes called 'Bend in the River' – that he later created in the studio. This process of creating studies, selecting the best of the studies, and then recreating them as paintings was typical of Kahn's studio process and makes this pastel a significant example of the artist's creative output. 9 x 11 inches, artwork 15.5 x 18.13 inches, frame Signed 'W. Kahn' lower right Framed to conservation standards using archival materials including 100 percent rag matting. Housed in a gold finish wood moulding. Acquired directly from the artist. Wolf Kahn, the youngest of four siblings, was born into a well-to-do artistic family. His father was the conductor of the Stuttgart Philharmonic Symphony, and his mother came from a family of art collectors.(1) During 1938, Kahn took his first art lessons, but most of his initial drawings were of military or historical events. The next year Kahn was sent to England for safety following the ascendancy of Hitler to power, and in 1940, he immigrated to the United States. In 1942, he entered New York's High School of Music and Art, and while there, he was employed by a commercial art firm doing illustrations. After a stint in the Navy, Kahn entered Hans Hofmann's school, and among his fellow students were Neil Blaine, Jane Freilicher, Allan Kaprow and Larry Rivers. His initial results were done with a dark palette and abstracted forms, and although Hofmann's style of teaching was difficult, Kahn has consistently praised him for teaching him the value of control and understanding.(2) Kahn's first exhibition was a 1951 group show in a loft with several other artists in lower Manhattan. From this impromptu show, a group effort evolved called the Hansa Gallery Cooperative.(3) In 1953, Wolf Kahn had a one-man show at this gallery, which was reviewed by Fairfield Porter, and at this same time bolder, more vivid colors began to appear in his work. By the mid-1950's, on a summer trip to Provincetown, Kahn's paintings indicated a new direction of softening warm colors in the manner of Bonnard. He was included in Meyer Shapiro's seminal exhibition, The New York School: The Second Generation at the Jewish Museum, and by the end of the 1950s, he had developed his abstracted landscape style for which he is best known. In 1966, he made his first "barn" painting on Martha's Vineyard that reduced the complexities of detail of the architecture to a more basic shape, a stylistic convention that is evident in the Museum's painting. Kahn has since commented frequently on his use of color as a unique and specific component of each work as the situation demands, where the gradual buildup of the colors resembles the beauty and translucent nature of pastels.(4) Since then Kahn has had one-person exhibitions at the Kansas City Art Institute, Chrysler Museum, San Diego Museum of Art, Fort Lauderdale Museum of Art and the Columbus Museum, among others. His work is in the permanent collections of numerous museums throughout the United States. Footnotes: 1. Much of the biographical information is drawn from Justin Spring, Wolf Kahn (New York: Harry N. Abrams, 1996). 2. Spring, 21. Wolf Kahn draws this from a 1973 address to the College Art Association. 3. This group included Jane Wilson...

Oil on canvas realized by Sirio Pellegrini in 1965. Hand signed in the lower left. Includes a wooden frame 32x37 cm. Very good condition. Sirio Pellegrini, born in Rome on March ...

Souleymane Keita, Senegalese (1947 -2014) - Green Symphony, Year: 1982, Medium: Pastel on J Perrigot Arches Special MBM, signed and dated in pencil ...

With pastel and watercolour. Signed to the lower right. Presented in a light wooden frame.

"Architecture" is an original drawing in mixed media on cardboard, by Anonymous Artist of XIX Century. In aged conditions. Sheet dimension: 73 x 54 cm This is an original drawing ...

Born in Ixelles in 1883, Claes-Thobois studied at the Academy of Brussels under Constant Montald and Herman Richir. His career spanned an age of g...

A charming study of a classical Greek woman in a pastel palette. Unsigned. Presented in a gilt frame with a floral running pattern. On paper.

Amy Londoner Beach at Atlantic City, circa 1922 Signed lower right Pastel on paper Sight 23 x 18 inches Amy Londoner (April 12, 1875 – 1951) was an American painter who exhibited at the 1913 Armory Show. One of the first students of the Henri School of Art in 1909. Prior to the Armory Show of 1913, Amy Londoner and her classmates studied with "Ashcan" painter Robert Henri at the Henri School of Art in New York, N.Y. One notable oil painting, 'The Vase', was painted by both Henri and Londoner. Londoner was born in Lexington, Missouri on April 12, 1875. Her parents were Moses and Rebecca Londoner, who moved to Leadville, Colorado, by 1880. In 1899, Amy took responsibility for her father who had come to Los Angeles from Leadville and had mental issues. By 1900, Amy was living with her parents and sister, Blanche, in the vicinity of Leadville, Denver, Colorado. While little was written about her early life, Denver City directories indicated that nineteenth-century members of the family were merchants, with family ties to New York, N.Y. The family had a male servant. Londoner traveled with her mother to England in 1907 then shortly later, both returned to New York in 1909. Londoner was 34 years old at the time, and, according to standards of the day, should have married and raised a family long before. Instead, she enrolled as one of the first students at the Henri School of Art in 1909. At the Henri School, Londoner established friendships with Carl Sprinchorn (1887-1971), a young Swedish immigrant, and Edith Reynolds (1883-1964), daughter of wealthy industrialist family from Wilkes-Barre, PA. Londoner's correspondence, which often included references to Blanche, listed the sisters' primary address as the Hotel Endicott at 81st Street and Columbus Avenue, NYC. Other correspondence also reached Londoner in the city via Mrs. Theodore Bernstein at 252 West 74th Street; 102 West 73rd Street; and the Independent School of Art at 1947 Broadway. In 1911, Londoner vacationed at the Hotel Trexler in Atlantic City, NJ. As indicated by an undated photograph, Londoner also spent time with Edith Reynolds and Robert Henri at 'The Pines', the Reynolds family estate in Bear Creek, PA. Through her connections with the Henri School, Londoner entered progressive social and professional circles. Henri's admonition, phrased in the vocabulary of his historical time period, that one must become a "man" first and an artist second, attracted both male and female students to classes where development of unique personal styles, tailored to convey individual insights and experiences, was prized above the mastery of standardized, technical skill. Far from being dilettantes, women students at the Henri School were daring individuals willing to challenge tradition. As noted by former student Helen Appleton Read, "it was a mark of defiance,to join the radical Henri group." As Henri offered educational alternatives for women artists, he initiated exhibition opportunities for them as well. Troubled by the exclusion of work by younger artists from annual exhibitions at the National Academy of Design, Henri was instrumental in organizing the no-jury, no-prize Exhibition of Independent Artists in 1910. About half of the 103 artists included in the exhibition were or had been Henri students, while twenty of the twenty-six women exhibiting had studied with Henri. Among the exhibition's 631 pieces, nine were by Amy Londoner, including the notorious 'Lady with a Headache'. Similarly, fourteen of Henri's women students exhibited in the groundbreaking Armory Show of 1913, forming about eight percent of the American exhibitors and one-third of American women exhibitors. Of the nine documented works submitted by Londoner, five were rejected, while four pastels of Atlantic City beach scenes, including 'The Beach Umbrellas' now in the Remington Collection, were displayed. Following Henri's example, Londoner served as an art instructor for younger students at the Modern School, whose only requirement was to genuinely draw what they pleased. The work of dancer Isadora Duncan, another artist devoted to the ideals of a liberal education, was also lauded by the Modern School. Henri, who long admired Duncan and invited members of her troupe to model for his classes, wrote an appreciation of her for the Modern School journal in 1915. She was also the subject of Londoner's pastel Isadora Duncan and the Children: Praise Ye the Lord with Dance. In 1914, Londoner traveled to France to spend summer abroad, living at 99 rue Notre Dames des Champs, Paris, France. As the tenets of European modernism spread throughout the United States, Londoner showed regularly at venues which a new generation of artists considered increasingly passe, including the annual Society of Independent Artists' exhibitions between 1918 and 1934, and the Salons of America exhibition in 1922. Londoner also exhibited at the Morton Gallery, Opportunity Gallery, Leonard Clayton Gallery and Brownell-Lambertson Galleries in NYC. Her painting of a 'Blond Girl' was one of two works included in the College Art Associations Traveling Exhibition of 1929, which toured colleges across the country to broad acclaim. Londoner later in life suffered from illnesses then suffered a stroke which resulted in medical bills significantly mounting over the years that her old friends from the Henri School, including Carl Sprinchorn, Florence Dreyfous, Florence Barley, and Josephine Nivison Hopper, scrambled to raise funds and find suitable long-term care facilities for Londoner. Londoner later joined Reynolds in Bear Creek, PA. Always known for her keen wit, Londoner retained her humor and concern for her works even during her illness, noting that "if anything happens to the Endicott, I guess they will just throw them out." Sprinchorn and Reynolds, however, did not allow this to happen. In 1960, Londoner's paintings 'Amsterdam Avenue at 74th Street' and 'The Builders' were loaned by Reynolds to a show commemorating the Fiftieth Anniversary of the Exhibition of Independent Artists in 1910, presented at the Delaware Art Center, Wilmington, DE. In the late 80's, Francis William Remington, 'Bill Remington', of Bear Creek Village PA, along with his neighbor and artist Frances Anstett Brennan, both had profound admiration for Amy Londoner's art work and accomplishments as a woman who played a significant role in the Ashcan movement. Remington acquired a significant number of Londoner's artwork along with Frances Anstett Brenan that later was part of an exhibition of Londoner's artwork in April 15 of 2007, at the Hope Horn...

An exquisite example of Bernard Dunstan's line work. The relaxed pose of the female sitter and sensitive approach to mark making is typical of Dunstan's style. Presented in a wash li...

Vito Tomasello. Portrait of Wayne Herman, 1971. Pasel on paper, 18 x 24 inches. Signed and dated upper left. A lifetime NYC resident, Tomasello is best known for his male nude draw...

A striking head and shoulders portrait study of a man wearing a fedora and red suit. He stares straight at the viewer in an almost confrontational stance, with bright blue eyes looki...

Early 1960s work on paper of a group of trees at Buckfast Abbey in Devon, England, by Alban Atkins. Signed bottom left, titled and dated to the reverse. There is also a collection or accession number to the backboard. Atkins has captured the sculptural nature of the tree trunks as they have grown in the landscape giving the work a feeling of living, writhing things as well as an abstract feel in the composition. Atkins was one of the group of important artists chosen and commissioned by Sir Kenneth Clark...

This pastel is unframed

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...

"Chilmark Pond", Martha's Vineyard Plein Air Coastal Island Pastel Landscape by Anne F. Cook A lovely plein air pastel landscape capturing the natural beauty of New England's coastal island sunset views, by Martha's Vineyard artist Anne F. Cook (American, b.1962). This 1995 pastel, titled "Chilmark Pond", transports the viewer to the beautiful island of Martha's Vineyard, to bask in the soft light of dusk as the sun sets over the view of the island's coastal ponds. Signed and dated "Cook 1995" lower right. Titled "Chilmark Pond" lower left. Photo of title has been slightly enhanced to appear more legible. Displayed in a decorative black and gilt-toned frame, with tan mat. Image size: 18.5"H x 24.5"W. Framed size: 26.25"H x 32.25"W x 1"D. Anne Cook...

Bernardo Navarro Tomas (Cuba, 1977) 'New York City #10', 2017 mixed media on japanese paper 12.3 x 17 in. (31 x 43 cm.) ID: NAA-310 Hand-signed by author

Drawing on paper is his basic work tool, some are sketches of his surviving works, others are sketches of moments he documents. Undefined by medium, Celso Castro’s works each carry...

These recently discovered 1984 oversize pastels on archival papers were created with a live model, working quickly, in pastel. The series shows the l...

A striking fauvist work in chalk pastel. Signed to the lower right. Presented in a large contemporary frame with a crisp white mount. On paper.

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

Original cover for Needlecraft Magazine, published January 1928 A woman in a floral kimono dresses her child for cold winter weather in a knitted hat, scarf, and sweater. Medium: ...

A fine French academic study sketch on paper of a classical head. The work is unsigned but very much in the style of the period and its early exponents such as Jacques-Louis David. ...

Leon Dolice New York Harbor (Brooklyn Bridge), circa 1939-1940 Signed lower left Pastel on paper 12 x 19 inches Exhibited Roslyn Harbor, New York, Nassau County Museum of Art, Deco ...

"I make quiet paintings in a noisy world. My work is an intimate meditation on humble objects and the detritus of studio life. I aim to promote a reengagement with the mundane while ...

This is part of an ongoing series of mermaids a subject that has interested the artist for years. He is consistently searching for contemporary observations on a mythical subject tha...

Trees and Sun 1927 Color pastels on ivory wove paper 10.375 x 7.25 inches This work is offered by ClampArt in New York City.

A sweeping view of Tallinn, Estonia by an unknown artist (20th Century). This detailed charcoal landscape drawing shows a panorama of the beautiful coastal city on the Baltic Sea, complete with small figures walking on a pier, boats in the harbor, and the iconic Alexander Nevsky...

Contemporary realistic figurative mixed media drawing on cardboard by Polish artist Andrzej Szypluk. Monochromatic drawing of a female in nude. PROVE...

A French art deco pastel portrait by Louis-Jean Beaupuy. The work is signed and dated bottom right. Presented in carved and gilded wood frame. Beaupuy has captured all the charm and...

Completed in graphite and oil pastel, this swirling mix of colour and organic line work is a very fine early abstract work by the German artist August Ludwig Schmitt (1882-1936). Exc...

Luis Miguel Valdes (Cuba, 1949) 'De la serie La Siempre Habana 62', 1994 pastel on cardboard 11.9 x 15.8 in. (30 x 40 cm.) ID: 1D199403 Hand-signed by author ________________________...

Henry Ottmann (1877-1927) Bust-length portrait of a woman signed lower right pastel on paper 53 x 43 cm Framed 74 x 64 cm This bust portrait of a woman shows us another aspect o...

Rocio Rodriguez July 8, 2013, 2013 pastel, oil pastel, charcoal and pencil on paper 18 x 24 in. This original oil oil pastel drawing on paper by Rocio Rodriguez features abstracted ...

French Impressionist pastel on paper of a Provençal lunch. Signed bottom right but as yet not deciphered. Presented in a white frame under perspex. A charming, highly colourful and ...

French School, Portrait of Queen Marie Antoinette of France, Pastel /oil Pastel on Paper, Rococo, 18th Century. The Pastel is made in the style...

Mid 19th century pastel drawing view of the Chapel Bridge and river Reuss in Lucerne, Switzerland by Hercules Brabazon Brabazon. The work...

'On the Path', pastel and ink on art paper, by Suzanne Tourte (circa 1950s). Executed with a lively palette of colour, this is a surprisingly sophisticated modern work of art which belies its rather naive style. Flowered fields, green grassy patches, a curved path and blue skies all figure in this engaging landscape with two figures. Newly framed and glazed in anti-reflective glass, this work is in good overall condition. Signed: 'S X Tourte' in the lower right hand. Please enjoy the many photos accompanying the listing. Upon request, a video may be provided. About the Artist: Suzanne Tourte (1904-1979) was a French painter, engraver, medalist, fresco artist, lithographer and illustrator. She was also an excellent vocalist. She studied at the school of Beaux-Arts in Reims while continuing her musical studies at the Conservatoire de la Ville. She chose painting as a profession and returned to Paris to continue her studies. She was friends with artists Yves Brayer and Robert Humblot...

This evocative pastel painting by Victor Jernbergh, dated 1917, captures the serene and enchanting scene of a river at dusk. The central composition is dominated by a lone pine tree ...

This layered paper collage and drawing artwork titled "Mass Study III" is an original artwork by Seth Clark made of paper, charcoal, pastel, graphite, an...

This artwork "Still Life #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 22 x 16 inches, sheet size is 24.25 x 18 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...

Landscape with Blooming Trees Paul-Emile Pissarro 1884-1972 French Paper size 9.5x12.5 under glass framed 12x16x1 signed, very good condition. The backi...

Date: 1921 Medium: Pastel on Paper Dimensions: 28.00" x 21.00" Signature: Signed Lower Right Satuday Evening Post Cover, November 12, 1921

Work on paper Brown wooden frame with glass pane 48 x 39 x 1.5 cm

Artist: Unknown (Likely French, 18th Century) Title: "La Femme Muse" *No signature found Circa: 1780 Medium: Original Pastel Drawing on heavy laid paper Frami...

Peter Potworowski 1898-1962 Woodland Scene, 1956, circa gouache and pastel 25.1 x 28.2 cm 9 7/8 x 11 1/8 in unsigned Tadeusz Piotr (Peter) Potworowski was a Polish abstract and figu...

CLAES-THOBOIS Albert Statue. Pastel. Signed and dated 1929. Provenance : Collection of the mistress of the artist. Born in Ixelles in 1883, Claes-Thobois studied at the Academy of Brussels under Constant Montald...

Frammenti Pastel on Paper (Fabriano Elle) 100x70 cm 2023 Original Art Marilina Marchica's research delves into the relationship between Man and Nature and the emotional implications of the relationship between human and dwelling. In this research, the landscape is the protagonist. People today rule over 75% of the land not covered by ice, which has led to modifying and shaping places, ignoring the life-giving forces of nature. The attempts of modern people...

landscape, fishing, England, 1910,pastel,green,blue Edouard CHAPPEL (Anversa, 1859 – Cagnes-sur-Mer, 1946) MUSEI BELGIO Anversa Musée Royal des Beaux-Arts FRANCIA Paris Musée d...

Samantha Haring Crystal Clear, 2024 Chalk pastel on paper 15 x 15 in. (hari026)

In the style of Monet. Signed and dated. Presented in a white painted wooden frame. On cardboard.