Pastel Drawings and Watercolor Paintings

A large & colorful ca. 1955 watercolor & pastel dock scene of Martha's Vineyard by notable artist Francis Chapin. Artwork size: 19" x 25". Archivally matted to: 24" x 30". Prove...

Bernard Myers (British, 1925 – 2007) Study of flowers with oranges and pears pastel on paper Signed ‘B. Myers’ (lower right) 24 x 31.3/4 in. (61 x 80.7 cm.) (including frame) From th...

These recently discovered 1983-84 oversize pastels on archival papers were created working quickly, in pastel. The series shows the last existing obs...

Leon Dolice Central Park Signed lower left Watercolor on paper 12 x 19 inches The romantic backdrop of Vienna at the turn of the century had a life-long influence upon the young ma...

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...

Dark Green Field Oliviero Masi Italian (1948) Date: 1980 Pastel on paper, signed lower right Size: 17.5 x 17.5 in. (44.45 x 44.45 cm)

Portrait of a Nude Lady French School, circa 1960's chalk and pastel on artists paper, unframed size: 12.5 x 19 inches condition: very good and ready to be enjoyed provenance: priva...

Alex (Cuban, b.1949). Indigenous Mexican Woman, 1982. Pastel and charcoal on wove paper, sheet measures 23 x 33 inches. 31.5 x 41 inches framed. Excellen...

Rabbi in the synagogue at prayer wearing tallit and tefillin. Hugó Scheiber (born 29 September 1873 in Budapest – died there 7 March 1950) was a Hungarian modernist painter. Hugo Scheiber was brought from Budapest to Vienna at the age of eight where his father worked as a sign painter for the Prater Theater. At fifteen, he returned with his family to Budapest and began working during the day to help support them and attending painting classes at the School of Design in the evening, where Henrik Papp was one of his teachers. He completed his studies in 1900. His work was at first in a post-Impressionistic style but from 1910 onward showed his increasing interest in German Expressionism and Futurism. This made it of little interest to the conservative Hungarian art establishment. However, in 1915 he met the great Italian avant-gardist Filippo Tommaso Marinetti and the two painters became close friends. Marinetti invited him to join the Futurist Movement. The uniquely modernist style that he developed was, however, closer to German Expressionism than to Futurism and eventually drifted toward an international art deco manner similar to Erté's. In 1919, he and his friend Béla Kádar held an exhibition at the Hevesy Salon in Vienna. It was a great success and at last caused the Budapest Art Museum to acquire some of Scheiber's drawings. Encouraged, Scheiber came back to live in Vienna in 1920. A turning point in Scheiber's career came a year later, when Herwarth Walden, founder of Germany's leading avant-garde periodical, Der Sturm, and of the Sturm Gallery in Berlin, became interested in Scheiber's work. Scheiber moved to Berlin in 1922, and his paintings soon appeared regularly in Walden's magazine and elsewhere. Exhibitions of his work followed in London, Rome, La Paz, and New York. Scheiber's move to Germany coincided with a significant exodus of Hungarian artists to Berlin, including Laszlo Moholy-Nagy and Sandor Bortnyik. There had been a major split in ideology among the Hungarian avant-garde. The Constructivist and leader of the Hungarian avantgarde, Lajos Kassák (painted by Hugó Scheiber in 1930) believed that art should relate to all the needs of contemporary humankind. Thus he refused to compromise the purity of his style to reflect the demands of either the ruling class or socialists and communists. The other camp believed that an artist should be a figurehead for social and political change. The fall out and factions that resulted from this politicisation resulted in most of the Hungarian avant gardists leaving Vienna for Berlin. Hungarian émigrés made up one of the largest minority groups in the German capital and the influx of their painters had a significant effect on Hungarian and international art. Another turning point of Scheiber's career came in 1926, with the New York exhibition of the Société Anonyme, organized by Katherine Dreier. Scheiber and other important avant garde artists from more than twenty-three countries were represented. In 1933, Scheiber was invited by Marinetti to participate in the great meeting of the Futurists held in Rome in late April 1933, Mostra Nazionale d’Arte Futurista where he was received with great enthusiasm. Gradually, the Hungarian artists began to return home, particularly with the rise of Nazism in Germany. Kádar went back from Berlin in about 1932 and Scheiber followed in 1934. He was then at the peak of his powers and had a special flair in depicting café and cabaret life in vivid colors, sturdily abstracted forms and spontaneous brush strokes. Scheiber depicted cosmopolitan modern life using stylized shapes and expressive colors. His preferred subjects were cabaret and street scenes, jazz musicians, flappers, and a series of self-portraits (usually with a cigar). his principal media being gouache and oil. He was a member of the prestigious New Society of Artists (KUT—Képzőművészek Új Társasága)and seems to have weathered Hungary's post–World War II transition to state-communism without difficulty. He continued to be well regarded, eventually even receiving the posthumous honor of having one of his images used for a Russian Soviet postage stamp (see image above). Hugó Scheiber died in Budapest in 1950. Paintings by Hugó Scheiber form part of permanent museum collections in Budapest (Hungarian National Museum), Pecs (Jannus Pannonius Museum), Vienna, New York, Bern and elsewhere. His work has also been shown in many important exhibitions, including: "The Nell Walden Collection," Kunsthaus Zürich (1945) "Collection of the Société Anonyme," Yale University Art Gallery, New Haven, Connecticut (1950) "Hugó Scheiber: A Commemorative Exhibition," Hungarian National Museum, Budapest (1964) "Ungarische Avantgarde," Galleria del Levante, Munich (1971) "Paris-Berlin 1900-1930," Centre Georges Pompidou, Paris (1978) "L’Art en Hongrie, 1905-1920," Musée d’Art et l’Industrie, Saint-Etienne (1980) "Ungarische Avantgarde in der Weimarer Republik," Marburg (1986) "Modernizmus," Eresz & Maklary Gallery, Budapest (2006) "Hugó Scheiber & Béla Kádár," Galerie le Minotaure, Paris and Tel Aviv (2007) Hugó Scheiber's paintings continue to be regularly sold at Sotheby's, Christie's, Gillen's Arts (London), Papillon Gallery (Los Angeles) and other auction houses. He was included in the exhibition The Art Of Modern Hungary 1931 and other exhibitions along with Vilmos Novak Aba, Count Julius Batthyany, Pal Bor, Bela Buky, Denes Csanky, Istvan Csok, Bela Czobel, Peter Di Gabor, Bela Ivanyi Grunwald, Baron Ferenc Hatvany, Lipot Herman, Odon Marffy, C. Pal Molnar...

Untitled Pastel on paper, 1922 Initialed lower right (see photo) Exhibited: Francis Nauman, Leon Kelly: Draftsman Extraordinaire, New York, April 4 - May 23, 2014. Condition: Excell...

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...

'Modern Dancers', pastel, ink and gouache on fine art paper by French artist, singer and sculptor, Mick Micheyl (1964). Two elegant young men are depicted in a graceful dancing pose, arms outstretched, their lithe bodies so agile and limber. Perhaps one of the dancers was her friend, Philippe, to whom the painting is dedicated on the bottom. The dedication says: 'For you Philippe, all my friendship'. Signed: 'Mick Micheyl'. The work has been newly framed and glazed after having been acquired in the S. of France. It is in fair vintage condition commensurate with age showing minor blemishing on the paper. Upon request a video of the piece can be provided. Dimensions with Frame: H 75 cm / 29.5" W 61 cm / 24" Dimensions without Frame: H 56 cm / 22" W 42 cm / 16.5" About the Artist: Mick Micheyl (1922 - 2019) was born in Lyon and had a busy and rewarding artistic career as a singer, producer, reviewer, metal sculptor, artist. After having received training at the School of Fine Arts in Lyon she became a painter and decorator in the theatre but then commenced a career in the musical activities of a theatrical troupe. She won the ABC competition in Paris in 1949 with a song, Le Marchand de Poésie, which she composed herself. She then performed in many cabarets: L'Échelle de Jacob, Harlequin and Liberty's. In the 1950s she was one of the most important French cabaret singers of that period. One of her titles, 'Un Gamin de Paris', became one of the French standards and also performed by Yves Montand and Robert Clary...

Portrait of a Nude Lady French School, circa 1960's chalk and pastel on artists paper, unframed size: 12.5 x 19 inches condition: very good and ready to be enjoyed provenance: priva...

Landscape is an original modern artwork realized by Ardengo Soffici in 1930s. Pencil on paper. Hand signed lower right. Includes frame.

Best known as an impassioned supporter and avid collector of modern art, Earl Horter was also an artist himself. Largely self-taught, Horter was a highly skilled draftsman and engrav...

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 Colorful, Panoramic Mid-Century Modern View of the famed fishing village (and renowned surfing locale) of Nazaré, Portugal by Rudolph Pen. Painted in the 1960s, this vivid waterco...

Leon Dolice Empire State Building Signed lower right Watercolor on paper 19 x 12 inches The romantic backdrop of Vienna at the turn of the century had a life-long influence upon th...

Bird is a drawing in pastel on paper realized by Benn (Bencjon Rabinowicz) in 1970. Hand signed on the lower, dated. Good conditions. Benn (Bencj...

Portrait of a Nude Lady French School, circa 1960's chalk and pastel on artists paper, unframed size: 19 x 11.5 inches condition: very good and ready to be enjoyed provenance: priva...

Mid century inspired aerial landscape pastel drawing by contemporary artist R. Michael Wommack. The work features a birds eye view of a planned neighborhood at night with glowing swi...

Portrait of a Nude Lady French School, circa 1960's signed and stamped chalk and pastel on artists paper, unframed size: 18.75 x 11 inches condition: very good and ready to be enjoy...

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...

Wifredo Lam “Femme Cheval” 1971 Pastel on paper 24 x 18 in Signed and dated at the bottom left corner Provenance: Gallerry Dobbelhoef, Kessel. Private Collection, Brussel. Campo and...

Abstracted New York City landscape drawing of urban rooftops and tree tops "Rooftops", created by William Clutz in 1977 30 x 20 inches, charcoal and pastel on paper 33 x 25 inches in light wood frame This framed pastel on paper was made in 1977 by William Clutz. It features an abstracted depiction of New York City rooftops as seen from a high window. Of particular note is the artist's technique with pastel; a wonderful texture and motion is created by closely woven striated lines. Sunlight reflects off brown rooftops and peaking green tree tops. The charcoal and pastel drawing is framed in a natural light wood frame with non-reflective glass and wire backing for installation. About the Artist: Renowned as the “impressionist of the contemporary metropolis”, William Clutz uses the city, in its entirety, as his subject. Pedestrians crossing streets become stars of the stage; the hustle and bustle of traffic and surrounding buildings are the chorus; each play their part in the overall composition. Lighting and color shift this observation of the everyday into a remarkable wonder. “It is surely Clutz”, wrote Gerrit Henry in Art News, 1979, “an artist who has rejected the niceties of representation in favor of the quintessence.” The young artist moved to New York City in 1955 and just four years later had his first solo exhibit at the Condon Riley Gallery. Clutz went on to show in major uptown galleries such as David Herbert, where, notably in 1962 he received a NYTimes review titled, Return of the Figure. That same year, his role in the revival of figuration was further solidified with inclusion in the MoMA group show, Recent Painting USA, The Figure. This was a pivotal turning point from which emerged a 50-year exhibiting career. Resume Born: Gettysburg, PA 1933 Mercersburg, PA 1933-1951 New York City 1955-1996 Education Painting: Thomas Danaher(WPA artist) 1944-51 Mercersburg Academy, PA 1947...

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 Nude Lady French School, circa 1960's chalk and pastel on artists paper, unframed stamped size: 18.5 x 11.5 inches condition: very good and ready to be enjoyed provena...

Nude Sketches French School, circa 1960's chalk and pastel on artists paper, unframed double sided size: 12.5 x 19 inches condition: very good and ready to be enjoyed provenance: pri...

Nude Study French School, circa 1960's chalk and pastel on artists paper, unframed size: 12.5 x 19 inches condition: very good and ready to be enjoyed provenance: private collectio...

Nude Study French School, circa 1960's chalk and pastel on artists paper, unframed double sided size: 12.5 x 20 inches condition: very good and ready to be enjoyed provenance: pri...

'The Red Headdress', pastel on art paper, by W. Worms (circa 1960s). A beautiful woman with contemplative expression and tender eyes is exquisitely portrayed by the artist. The treat...

John Rattenbury Skeaping. English ( b.1901 - d.1980 ). Guardian, Cowboy And Horseman Of The Camargue, 1970. Pastel On Paper. Signed & Dated Lower Right. Paper size 15.2 inches x 2...

'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...

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...

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

Perfect for you hockey enthusiast! A 1950s pastel & charcoal on paper drawing of a hockey game by artist Francis Chapin. Artwork size: 9" x 12". Matted size: 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...

'Standing Nude Study', pastel on art paper, by Louis Latapie (circa 1930). There is something very pure in the naked human body, but for some that purity can veer towards pruriency. ...

Alex (Cuban, b.1949). Indigenous Mexican Women, 1982. Pastel and charcoal on wove paper, sheet measures 23 x 33 inches; 31.5 x 41 inches framed. Excellent condition with no damage or...

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...

Getting Rest is a drawing realized by Luis Emile Adan in the early 20th Century. Pastel on ivory-colored paper. Good conditions with slight foxing. The artwork is realized through...

From the estate of Jerry and Ruth Opper Abstract Expressionism Contour Drawing 1 c.1950s Ink and Pastel Contour Drawing 18" x 12", Unframed Signed in ink lo...

The Garden is a drawing on paper realized by an anonymous in the early 20th Century. Mixed media on paper. Fair condition with missing pieces of paper on the margins.

Work on watercolor paper

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...

John Rattenbury Skeaping. English ( b.1901 - d.1980 ). Into The Final Furlong, 1965. Pastel On Buff Paper. Signed & Dated 1965. Image size 18.9 inches x 27.6 inches ( 48cm x 70cm )...

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...

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...

China ink, pastel, tempera and watercolor on paper realized in the 1930s. Hand Signed lower right. Includes certificate of authenticity by the Fondazione Marino Marini signed by Maria Teresa Tosi. Archived in the Marino Marino...

These recently discovered 1983-84 oversize pastels on archival papers were created working quickly, in pastel. The series shows the last existing obs...

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

A 1950s pastel drawing of a young boy by artist Francis Chapin. Provenance: Estate of the artist. Image size: 16" x 15". Artwork is not matt...

Sole Tree is a drawing realized by Mareal Abougit (1903-1985) in 1974. Pencil, pastel and watercolor on paper. Hand-signed and dated on the lower left. Good conditions with slight...

The Bird is an original Drawing on paper realized by the painter Henri Lehmann (1814-1882). Drawing in Pastel. Stamped on the lower. Good conditions. ...

This artwork "Untitled #3" 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 21.75 x 16.75 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...

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 ...

Dominatrix Woman is a beautiful watercolor drawing realized by Mino Maccari in the 1970s. The artwork is hand signed by the artist. Oil on panel. Includes frame 48.5 x 35 cm Min...

Robert Peterson, "Flower," pastel on paper, 19 x 26 1/4 inches paper size, 27 1/4 x 35 inches including white mat and frame. The artwork is floated in the mat and only hinged at the...

Portrait is a Pastel and Watercolour artwork realized by Reynold Arnould (Le Havre 1919 - Parigi 1980). Good condition on a little sheet. No Signature. Reynold Arnould was born i...

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...

Robert Gilberg (1911-1970) "Pink Cheeks" c.1950s Ink and pastel on paper 12"x13.75" unframed Unsigned Good Condition - Wear consistent with age and history. Deep creases on upper le...