Graphite Nude Drawings and Watercolors

European School, late 18th century. Red chalk with primo pensiero in graphite on cream laid paper, 8 1/2 x 11 1/2 inches (215 x 293 mm). Scattered light handling wear and multiple s...

This is a drawing from the artist's sketchbooks. This pencil drawing shows a nude male in repose, The drawing is dated November 30 '36 (1936). Clearly the works are authentic and this sketch is signed "Jackson Lee Nesbitt...

"Sutra, a Sanskrit word meaning “thread”, is a word or small group of words that summarize an entire complex web of ideas, truths, wisdoms, or teachings all woven together into a sin...

This drawing by James Childs is offered by CLAMP in New York City.

Untitled (Two Standing Nudes, one seated nude) Graphite on wove paper, heightened with color, c. 1930 Unsigned From a sketchbook created while the artist was working in Paris Condition: Very good Provenance: Estate of the Artist Dawson's Auction, Morris Plains, NY, 2001 Boris Lovet-Lorski Lithuanian/Russian/American 1894-1973 Sculptor, painter, and printmaker, Boris Lovet-Lorski was born in Lithuania in 1894. His mother died when he was age three. His father was affluent and owned real estate. Boris grew up in a privileged environment. He studied architecture and then fine arts at the Imperial Academy of Art in Petrograd, Russia (now Saint Petersburg). Following the revolution in 1917 and its aftermath, Boris immigrated to Boston to live with his brother. In the 1920’s, his stylized, Art Deco inspired sculptures, lithographs, and paintings proved to be popular among the American elite. He exhibited frequently, holding his first solo exhibition in Boston, 1920. In the following years, Boris exhibited in New York at Marie Sterner Gallery, Jacques Seligmann Galleries and Wildenstein and Company. He lived in Paris from 1926 to 1932 where he befriended Joseph Hecht, and was exposed to the works of Pablo Picasso, Ossip Zadkine, Contantin Brancusi and Aristide Maillol. In 1932 he returned to America where he became a citizen later in the decade. Lovet-Lorski exhibited in the United States, South America, Europe and Asia. He was a member of the Society of Independent Artists (New York), the National Academy of Design (New York), and the Lotos Club (New York), as well as several Parisian salons. His work is in the permanent collections of numerous museums including the Musée Luxembourg, Bibliotèque Nationale, and the Petit Palais in France, the British Museum in London, the Metropolitan Museum in New York, the National Gallery in Washington, the Los Angeles County Museum of Art. (A more extensive list of his works in museums follows) He is considered one of the most successful and recognized sculptors of his generation. His creative influence can be seen in many of his contemporary artists. He died in Los Angeles in 1973. Regarding his iconic Art Deco sculptures of Cretan Dancers: “The stylizing of the Cretan allegories, used in figures of animals such as horses and bulls, symbolizes the ancient power of the South. These figures reveal a spiritual sensuality as he strives to attain a symbol of the earth and universe endowed with musical values. If man is the center of his idea of life and nature, it is because of the laws that govern the movement of stars and history. The link binding his figures together has, in a sense, a Pythagorean harmony.” Salvatore Quasimodo, Milan, 1967, quoted from Bush, Boris Lover-Lorski: The Language of Time, page 12. Lovet-Lorski created sculptures of the following major figures I.J. Paderewski, Prime Minister of Poland Arturo Toscanini, Italian Conductor Lilian Gish, Actress President Franklin D. Roosevelt Mrs. M. C. Niarchos, wife of Stavros Niarchos President Abraham Lincoln James Forrestal, Secretary of the Navy, First Secretary of Defense Pope Pius XII Dr. Albert Einstein, theoretical physicist President Dwight D. Eisenhower Albert Schweitzer, theologian, organist, writer, humanitarian, philosopher, and physician General Charles De Gaulle, President of the Fourth and Fifth Republic, France John Foster Dulles, Secretary of State, 1953-1959 President John F. Kennedy Works by Lover Lorski are in the following public collections: Albright-Knox Art Gallery, Buffalo Art Institute of Chicago Bibliotheque Nationale, Paris Brandeis University, Waltham, MA British Museum, London Boston University Brooklyn Museum California Palace of the Legion of Honor, Sam Francisco...

*UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE SOLD UNFRAMED Yvonne Assise by Paulémile Pissarro (1884 - 1972) Graphite on pape...

Stamped, verso, with certification of authenticity for Jane Ament De La Roche (American, 1916-2000) and created circa 1950. Winner of the Prix Othon Friesz, Ament first studied at the Chouinard Art Institute and, subsequently, in Paris with André L’Hote...

Shane Wolf is an American artist born in 1976 in Cincinnati. A first university career in graphic design led him to work for major French industrial brands. He then settled in Annecy...

Shane Wolf is an American artist born in 1976 in Cincinnati. A first university career in graphic design led him to work for major French industrial brands. He then settled in Annecy...

(Sorry for the reflections on the glass.) When I first saw this graphite-on-paper drawing I assumed it was a print of a Larry Rivers drawing (early Pop Artist and one of the great dr...

This drawing by James Childs is offered by CLAMP in New York City.

A rare pencil drawing by John Lear created in 1937, signed and dated in pencil. John Brock Lear, Jr. Born: 1910 - Chestnut Hill, Pennsylvania Died: ...

Signed by artist "M. O'KEEFE 2013" at lower left. Media is graphite on clay-coated panel. Overall dimensions including the frame are 18 x 15 inches.

RECLINING NUDES, Signed Original Watercolor Drawing Chaim Gross (Austrian American, 1902-1991) Original mixed media - watercolor and graphite on paper, hand signed in pencil by Chaim Gross on lower right, very good condition, off-white cream archival acid-free mat, warm metallic pewter color wood frame. Framed size - 20 x 23 in., 2.5 inch, Image area 12.5 x 16 in. Frame is included. About the artist - Chaim Gross (1902-1991) was a modern American sculptor working in New York City from 1921 until his death in 1991. He was born in 1902 to a Jewish family in Austrian Galicia, in the village of Wolowa in the Carpathian Mountains. In 1911, his family moved to Kolomyia. During World War I, Russian forces invaded Austria-Hungary; amidst the turmoil, the Grosses fled Kolomyia. They returned when Austria retook the town in 1915, refugees of the war. When World War I ended, Gross and brother Avrom-Leib went to Budapest, where Gross attended the city's art academy and studied with painter Béla Uitz, though within a year a new regime under Miklos Horthy took over and attempted to expel all Jews and foreigners from the country. After being deported from Hungary, Gross began art studies at the Kunstgewerbeschule in Vienna shortly before immigrating to New York City in 1921. In New York City, Gross's studies continued at the Educational Alliance Art School on the Lower East Side, led by Russian-American etcher Abbo Ostrowsky. Gross first began to exhibit his work as a student at the Alliance in 1922 (in the late 1920s, he joined their faculty). Gross also attended the Beaux-Arts Institute of Design from 1922-25, where he studied sculpture with Elie Nadelman and others, and at the Art Students League in 1926, with sculptor Robert Laurent. In 1926, Gross began to exhibit his sculpture at the Jewish Art Center (then in the Bronx), and in 1927, at the Salons of America exhibitions at the Anderson Galleries at 59th Street and Park Avenue. Beginning in 1928, he exhibited at the Whitney Studio Club at 10 West 8th Street (the precursor to the Whitney Museum of American Art), showing a watercolor "Circus" in their 13th Annual Exhibition of Paintings. In March 1932 Gross had his first solo exhibition of sculpture at Gallery 144 in New York City. Also in 1932, Gross married Renee Nechin (1909-2005), and they had two children, Yehudah and Mimi (Mimi Gross is a New York-based artist, and was married to the artist Red Grooms from 1963-1976). In 1933, Gross joined the government's PWAP (Public Works of Art Project), which transitioned into the WPA (Works Progress Administration). Under these programs Gross taught and demonstrated art, made sculptures for schools and public colleges, and created works for Federal buildings including the Federal Trade Commission Building, and for the France Overseas and Finnish Buildings at the 1939 New York World's Fair. Gross was also recognized during these years with a silver medal at the 1937 Exposition universelle in Paris. Chaim Gross, Sculptor by Josef Vincent Lombardo, the first major book on Gross, came out in 1949 and included a catalogue raisonne of his sculpture. In the 1950s Gross began to make more bronze...

Signed by artist "M. O'KEEFE 2013" at lower left. Media is graphite on clay-coated panel. Overall dimensions including the frame are 18 x 15 inches.

This drawing by James Childs is offered by CLAMP in New York City.

Exceptionally rendered graphite drawing by artist Albert Radoczy. Delicate mark-making of female figure. Signed and dated lower right. Presented in a handsome vintage giltwood frame,...

Signed lower right, "M. Decker" (for Michael Decker, American, 20th century) and created circa 1975. An elegant graphite and india ink figural study of a young woman shown seated an...

August Dressler is one of the painters of the New Objectivity. He is one of the lesser-known artists of the Weimar era, but he too, like his famous contemporaries Georg Grosz, John H...

Stamped verso for estate of Victor Di Gesu (American, 1914-1988) and painted circa 1955. A Post-Impressionist figural watercolor showing a young woman partially-clothed in evening w...

This work on paper by James Childs is offered by CLAMP in New York City.

Pencil Study #16 2016 Graphite on paper 12.75 x 4.25 inches Jessica Keiser currently resides in New Haven, Connecticut. Keiser's style is Naturalistic, ...

This drawing by James Childs is offered by CLAMP in New York City.

Victor Di Gesu (American, 1914-1988) Estate Stamp verso; drawn circa 1955. An elegant, figurative drawing showing a view of a young woman seated and gazing candidly towards the view...

A graphite study of a young woman seated, shown contrapposto with her hair drawn back and gazing to her left. Michael Decker (American, 20th century) circa 1975 and stamped, verso, ...

A figure drawing, created by Leontine Wallace in 1931. The drawing is inscribed, “Paris á l’Atelier L’hote” Leontine Wallace studied with André Lhote in Pa...

Stamped, verso, with certification of authenticity for Jane Ament De La Roche (American, 1916-2000) and created circa 1950. Winner of the Prix Othon Friesz, Ament first studied at the Chouinard Art Institute and, subsequently, in Paris with André L’Hote...

This framed 21" x 19" academic drawing by artist James Cobb, 'Erika in Gesture II,' captures a female model in a standing pose. Facing away from the viewer...

This James Childs artwork is offered by CLAMP in New York City.

Graphite on paper Image size: 13 3/4 x 26 inches (35 x 66 cm) This is most likely to be a drawing from an Academy student, executed as part of their academic training. The academic ...

This work on paper by James Childs is offered by CLAMP in New York City.

Pencil Study #13 2016 Graphite on paper 13 x 7 inches Jessica Keiser currently resides in New Haven, Connecticut. Keiser's style is Naturalistic, concer...

Pencil Study #22 2016 Graphite on paper 10 x 4.25 inches Jessica Keiser currently resides in New Haven, Connecticut. Keiser's style is Naturalistic, con...

Pencil Study #17 2016 Graphite on paper 13 x 7 inches Jessica Keiser currently resides in New Haven, Connecticut. Keiser's style is Naturalistic, concer...

Pencil Study #13 2016 Graphite on paper 13 x 7 inches Jessica Keiser currently resides in New Haven, Connecticut. Keiser's style is Naturalistic, concer...

Three Nudes in a Garden Graphite, c. 1928-1933 Initialed in pencil lower left (see photo) Illustrated: Elliott & Wooden, Aaron Bohrod: Figure Sketches, Fige 9, page 32 (see photo) A...

Seated Femake Nude Graphite and chalk on tan paper, c. 1920 Signed "Keller" and signed again with the artist's initials in a cypher A finished life drawing most probably exhibited at...

Pencil Study #20 2016 Graphite on paper 11 x 7 Jessica Keiser currently resides in New Haven, Connecticut. Keiser's style is Naturalistic, concerned with...

Disegno espressionista Figura femminile Artista Italiano che ha dedicato la vita all'arte Edgardo CORBELLI (Torino, 1918 – 1989) MUSEI Orléans, Francia, Musée Collégiale Saint Pierre le Puellier Salon de...

Frank Dobson seated nude in graphite with pastel highlights.

Stamped, verso, with estate stamp for Victor Di Gesu (American, 1914-1988) and created circa 1950. Winner of the Prix Othon Friesz, Victor di Gesu first attended the Los Angeles Art...

Frank Dobson early period graphite drawing, signed.

Untitled (Female Nude) Graphite and sgrafitto on yellow paper, 1987 Signed lower right Note: Steven Assael is represented by Forum Gallery in New York. In 1977 he won the Charles Ro...

Stamped, verso, with certification of authenticity for Jane Ament De La Roche (American, 1916-2000) and created circa 1950. Winner of the Prix Othon Friesz, Ament first studied at the Chouinard Art Institute and, subsequently, in Paris with André L’Hote...

"Descriptions I have heard or read of my work, most of which either delight or offend me, are: allegorical, apocalyptic, provocative, prophetic, dream-like, surreal, fantastic, weird, frightening, disturbing, demanding, despairing, disgusting, irrelevant, inspiring, old, new-old, fascinating, morbid, medieval, bizarre, cathartic, mystery-plays (I like that), and well drawn." - David Becker David Becker Day of the Painter graphite on paper 22h x 34w in 55.88h x 86.36w cm DB0017 David Becker Exhibitions 2017 Coming Attractions, Gallery Victor Armendariz, Chicago, 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 request Arkansas 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 Wisconsin-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 Tennessee – Knoxville West Chester State College, West Chester, PA Western Kentucky University – Bowling Green Private Collections Carla Leighton, New York, NY Marc Hauser, Chicago, IL Michael John Hofer, Chicago, IL Drs. Mark & Helene Connolly, River Forest, IL Jamie Kalikow, New York, NY Dianne & Jim Blanco, Chicago, IL Denise Roberge, Palm Desert, CA Tish & Philip Messinger, Creskill, NJ Brian Wesphal & Michael McVicker, Chicago, IL Ralph Privoznik, Lafayette, IN Candice Groot, Evanston, IL Shoemaker/Ruud Collection, Chicago, IL Braden Berkey and Robert Bartlett, Chicago, IL Bill and Karyn Silverstein, Highland Park, IL Steve Weitz, Lovettsville, VA Mary Allice Wimmer, Madison, WI Ann & Robert Avery...

This framed 21" x 19" drawing by artist James Cobb, 'Erika in Gesture I,' captures the female model in a seated pose. The model is seated with her legs tuck...

Attributed to Ross Bleckner (American, b. 1949) Group of 3 Double Sided Drawings Watercolor and graphite on paper Largest: 24 x 18 in. Smallest: 22 3/4 x 18 in. Ross Bleckner grew up in Hewlett, Long Island, New York; drawing all the time without being aware that other artists existed. He was the middle child between two sisters; his father manufactures electronic parts He attended New York University where Sol Lewitt, Chuck Close and others were his teachers. He graduated in 1972, then spent a year at the California Institute of Arts. His contacts in the next few years were very fortuitous; Sol Lewitt and Chuck Close, Carl Andre, David Salle, Julian Schnabel, etc. Bleckner is on the nervous side, beset by self-doubt, insomnia, and gloom. He is unpretentious, although he is bluntly handsome, with olive complexion, and a compact build. He is "10 percent that is superficial and 90 percent that has to do with the depths and that is threatened by living. He is a very complicated individual. He is a very, very morose, deeply feeling, hardworking artist- he takes a lot from within himself - but always, no matter how successful he is, he feels he is going to fall into those depths." 1 Bleckner first exhibited his work in New York in 1974. The following year he was given his first one-man show; he was included in the 1975 Whitney Biennial.. Since about 1985 has addressed many of his paintings to the subject of AIDS- both documenting it as a historical phenomenon and commemorating specific individuals who have died. Written and submitted by Jean Ershler Schatz, artist and researcher from Laguna Woods, California. Bio sourced from the Archives of askArt. Sources include: Ross Bleckner's Mood Indigo by Lisa Liebmann, in ARTnews, May 1993...

Attributed to: Ross Bleckner (American, b. 1949) Group of 3 Double Sided Drawings Watercolor and graphite on paper Largest: 24 x 18 in. Smallest: 23 1/4 x 18 in. Ross Bleckner grew up in Hewlett, Long Island, New York; drawing all the time without being aware that other artists existed. He was the middle child between two sisters; his father manufactures electronic parts He attended New York University where Sol Lewitt, Chuck Close and others were his teachers. He graduated in 1972, then spent a year at the California Institute of Arts. His contacts in the next few years were very fortuitous; Sol Lewitt and Chuck Close, Carl Andre, David Salle, Julian Schnabel, etc. Bleckner is on the nervous side, beset by self-doubt, insomnia, and gloom. He is unpretentious, although he is bluntly handsome, with olive complexion, and a compact build. He is "10 percent that is superficial and 90 percent that has to do with the depths and that is threatened by living. He is a very complicated individual. He is a very, very morose, deeply feeling, hardworking artist- he takes a lot from within himself - but always, no matter how successful he is, he feels he is going to fall into those depths." 1 Bleckner first exhibited his work in New York in 1974. The following year he was given his first one-man show; he was included in the 1975 Whitney Biennial.. Since about 1985 has addressed many of his paintings to the subject of AIDS- both documenting it as a historical phenomenon and commemorating specific individuals who have died. Written and submitted by Jean Ershler Schatz, artist and researcher from Laguna Woods, California. Bio sourced from the Archives of askArt. Sources include: Ross Bleckner's Mood Indigo by Lisa Liebmann, in ARTnews, May 1993...

Attributed to Ross Bleckner (American, b. 1949) Group of 3 Double Sided Drawings Watercolor and graphite on paper Largest: 24 x 18 in. Smallest: 23 1/4 x 18 in. Ross Bleckner grew up in Hewlett, Long Island, New York; drawing all the time without being aware that other artists existed. He was the middle child between two sisters; his father manufactures electronic parts He attended New York University where Sol Lewitt, Chuck Close and others were his teachers. He graduated in 1972, then spent a year at the California Institute of Arts. His contacts in the next few years were very fortuitous; Sol Lewitt and Chuck Close, Carl Andre, David Salle, Julian Schnabel, etc. Bleckner is on the nervous side, beset by self-doubt, insomnia, and gloom. He is unpretentious, although he is bluntly handsome, with olive complexion, and a compact build. He is "10 percent that is superficial and 90 percent that has to do with the depths and that is threatened by living. He is a very complicated individual. He is a very, very morose, deeply feeling, hardworking artist- he takes a lot from within himself - but always, no matter how successful he is, he feels he is going to fall into those depths." 1 Bleckner first exhibited his work in New York in 1974. The following year he was given his first one-man show; he was included in the 1975 Whitney Biennial.. Since about 1985 has addressed many of his paintings to the subject of AIDS- both documenting it as a historical phenomenon and commemorating specific individuals who have died. Written and submitted by Jean Ershler Schatz, artist and researcher from Laguna Woods, California. Bio sourced from the Archives of askArt. Sources include: Ross Bleckner's Mood Indigo by Lisa Liebmann, in ARTnews, May 1993...

Attributed to Ross Bleckner (American, b. 1949) Group of 3 Double Sided Drawings Watercolor and graphite on paper All approx. 24 x 18 in. Ross Bleckner grew up in Hewlett, Long Island, New York; drawing all the time without being aware that other artists existed. He was the middle child between two sisters; his father manufactures electronic parts He attended New York University where Sol Lewitt, Chuck Close and others were his teachers. He graduated in 1972, then spent a year at the California Institute of Arts. His contacts in the next few years were very fortuitous; Sol Lewitt and Chuck Close, Carl Andre, David Salle, Julian Schnabel, etc. Bleckner is on the nervous side, beset by self-doubt, insomnia, and gloom. He is unpretentious, although he is bluntly handsome, with olive complexion, and a compact build. He is "10 percent that is superficial and 90 percent that has to do with the depths and that is threatened by living. He is a very complicated individual. He is a very, very morose, deeply feeling, hardworking artist- he takes a lot from within himself - but always, no matter how successful he is, he feels he is going to fall into those depths." 1 Bleckner first exhibited his work in New York in 1974. The following year he was given his first one-man show; he was included in the 1975 Whitney Biennial.. Since about 1985 has addressed many of his paintings to the subject of AIDS- both documenting it as a historical phenomenon and commemorating specific individuals who have died. Written and submitted by Jean Ershler Schatz, artist and researcher from Laguna Woods, California. Bio sourced from the Archives of askArt. Sources include: Ross Bleckner's Mood Indigo by Lisa Liebmann, in ARTnews, May 1993...

Attributed to Ross Bleckner (American, b. 1949) Group of 3 Double Sided Drawings Ink and graphite on paper Largest: 23 1/2 x 17 1/4 in. Smallest: 22 7/8 x 18 in. Ross Bleckner grew up in Hewlett, Long Island, New York; drawing all the time without being aware that other artists existed. He was the middle child between two sisters; his father manufactures electronic parts He attended New York University where Sol Lewitt, Chuck Close and others were his teachers. He graduated in 1972, then spent a year at the California Institute of Arts. His contacts in the next few years were very fortuitous; Sol Lewitt and Chuck Close, Carl Andre, David Salle, Julian Schnabel, etc. Bleckner is on the nervous side, beset by self-doubt, insomnia, and gloom. He is unpretentious, although he is bluntly handsome, with olive complexion, and a compact build. He is "10 percent that is superficial and 90 percent that has to do with the depths and that is threatened by living. He is a very complicated individual. He is a very, very morose, deeply feeling, hardworking artist- he takes a lot from within himself - but always, no matter how successful he is, he feels he is going to fall into those depths." 1 Bleckner first exhibited his work in New York in 1974. The following year he was given his first one-man show; he was included in the 1975 Whitney Biennial.. Since about 1985 has addressed many of his paintings to the subject of AIDS- both documenting it as a historical phenomenon and commemorating specific individuals who have died. Written and submitted by Jean Ershler Schatz, artist and researcher from Laguna Woods, California. Bio sourced from the Archives of askArt. Sources include: Ross Bleckner's Mood Indigo by Lisa Liebmann, in ARTnews, May 1993...

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...

Preliminary Study for Cretan Dancer Bronze Graphite on tracing paper, 1930 Unsigned Note: The bronze sculpture measures 24 1/2 x 33 5/8 inches and is signed and dated 1930 on the base (see image on right). It is currently being offered for sale by Taylor Graham Gallery in New York. (see photo) “The stylizing of the Cretan allegories, used in figures of animals such as horses and bulls, symbolizes the ancient power of the South. These figures reveal a spiritual sensuality as he strives to attain a symbol of the earth and universe endowed with musical values. If man is the center of his idea of life and nature, it is because of the laws that govern the movement of stars and history. The link binding his figures together has, in a sense, a Pythagorean harmony.” Salvatore Quasimodo, Milan, 1967, quoted from Bush, Boris Lover-Lorski: The Language of Time, page 12. Image size: 6 1/2 x 6 1/2 inches Condition: Repaired tear in the lower left corner (see detail photo) Boris Lovet-Lorski Lithuanian/Russian/American 1894-1973 Sculptor, painter, and printmaker, Boris Lovet-Lorski was born in Lithuania in 1894. His mother died when he was age three. His father was affluent and owned real estate. Boris grew up in a privileged environment. He studied architecture and then fine arts at the Imperial Academy of Art in Petrograd, Russia (now Saint Petersburg). Following the revolution in 1917 and its aftermath, Boris immigrated to Boston to live with his brother. In the 1920’s, his stylized, Art Deco inspired sculptures, lithographs, and paintings proved to be popular among the American elite. He exhibited frequently, holding his first solo exhibition in Boston, 1920. In the following years, Boris exhibited in New York at Marie Sterner Gallery, Jacques Seligmann Galleries and Wildenstein and Company. He lived in Paris from 1926 to 1932 where he befriended Joseph Hecht, and was exposed to the works of Pablo Picasso, Ossip Zadkine, Contantin Brancusi and Aristide Maillol. In 1932 he returned to America where he became a citizen later in the decade. Lovet-Lorski exhibited in the United States, South America, Europe and Asia. He was a member of the Society of Independent Artists (New York), the National Academy of Design (New York), and the Lotos Club (New York), as well as several Parisian salons. His work is in the permanent collections of numerous museums including the Musée Luxembourg, Bibliotèque Nationale, and the Petit Palais in France, the British Museum in London, the Metropolitan Museum in New York, the National Gallery in Washington, the Los Angeles County Museum of Art. (A more extensive list of his works in museums follows) He is considered one of the most successful and recognized sculptors of his generation. His creative influence can be seen in many of his contemporary artists. He died in Los Angeles in 1973. Regarding his iconic Art Deco sculptures of Cretan Dancers: “The stylizing of the Cretan allegories, used in figures of animals such as horses and bulls, symbolizes the ancient power of the South. These figures reveal a spiritual sensuality as he strives to attain a symbol of the earth and universe endowed with musical values. If man is the center of his idea of life and nature, it is because of the laws that govern the movement of stars and history. The link binding his figures together has, in a sense, a Pythagorean harmony.” Salvatore Quasimodo, Milan, 1967, quoted from Bush, Boris Lover-Lorski: The Language of Time, page 12. Lovet-Lorski created sculptures of the following major figures I.J. Paderewski, Prime Minister of Poland Arturo Toscanini, Italian Conductor Lilian Gish, Actress President Franklin D. Roosevelt Mrs. M. C. Niarchos, wife of Stavros Niarchos President Abraham Lincoln James Forrestal, Secretary of...

Signed lower left, 'Marguerite Bordet' (French, 1909-2014) and painted circa 1965. From an early age, Marguerite Bordet avidly pursued both drawing and painting. In the late 1930's and early '40s, she attended the Académie de la Grande Chaumière in Paris where she studied with the sculptor, Antoniucci Volti (Italian, 1915-1989). After several years, and feeling increasingly disconnected with the academic atmosphere of the Salon, she left to develop her independent artistic style. Bordet's first public exhibition took place at the Galerie Claude (1947) and, for the next forty years, she continued to exhibit widely with success, both throughout France and internationally, including in Cairo (1955), Geneva (1960) and the United States (1966). A 1962 exhibition of her work showed a thematic rejection of the Academy's influence and the artist's shift to a more personal and spiritually driven style. Bordet continued to take frequent study trips to Italy, especially to Florence, where she was inspired by the Renaissance Masters. She also visited England (1975-76) where the works of J.M.W.Turner and John Martin at the Tate Museum had a pronounced impact on her development. In an interview with Hervé Serane, Marguerite Bordet described her artistic process in these words: "I start my painting with spots. Sometimes I cover it completely and everything is dark. But then it's stronger than me, I can't bear that there isn't an opening. Immediately, I place a Light. I need the shadow to bring out the Light. So I start with the shadow to create this Light. I cannot define why I need this Light so much. It's stronger than me. It's something that dominates me without my being able to explain it intellectually. It is for me an absolute necessity to seek the Light in the darkness.. You have to open like you open a window. You have to reveal. I remove the stains that obscure my painting to find the luminous background of the canvas.... I only paint with transparent colors and I apply several layers of glaze to preserve this light." Partial Exhibition Record: 1947 Paris, Galerie Claude 1951 Paris, Galerie Breteau - Cairo, Galerie Adam - Alexandria, l'Atelier 1954 Paris, Galerie Simone Bdinier 1955 Cairo, l'Atelier 1959 Paris, Galerie A. Weil 1960 Geneva, Galerie Motte 1962 Paris, Marignan Gallery 1964 Paris, Ror Volmar Gallery 1966 San Rafael (U.SA) International Museum 1966 Cagnes-sur-Mer, Castle Gallery...

A striking nude study in graphite showing a woman with her head buried in her arms, hiding her face. The artist has signed to the lower right corner and the drawing has been presente...

This untitled work by Rick Sindt was inspired by the works of Paul Cadmus. It is a small graphite drawing of two male nude figures with both of their faces somewhat obscured during an intimate moment. The graph lines often used by artist are still visible to distinguish between the photographic elements of a Polaroid photo and this actual drawing. The piece is framed in a white float frame measuring 12.5h x 10.5w inches. Rick Sindt Untitled - After Cadmus graphite on panel 10h x 8w in 25.40h x 20.32w cm 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? In the body of work submitted here, black and white graphite drawings maintain a Polaroid scale referencing the found historical photographs on which they are based, oil paintings provide isolated moments of feeling as they investigate questions about queer dispositions in a contemporary setting, and a few key sketches provide insight into how a few individual inquiries began. 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...

Signed, lower right, "Di Gesu" for Victor Di Gesu (American, 1914-1988) and created circa 1950. Winner of the Prix Othon Friesz, Victor di Gesu first attended the Los Angeles Art Ce...

Stamped, verso, with certification of authenticity for Victor Di Gesu (American, 1914-1988) and created circa 1950. Winner of the Prix Othon Friesz, Victor di Gesu first attended th...