Mid-20th Century Drawings and Watercolor Paintings

Art Sz: 11"H x 8 3/8"W 1944 Provenance stamp on verso: The Estate of Paul Desmond Brown *Book sold separately*

Eve Nethercott, American (1925 - 2015) - Maine Street (35), Year: circa 1959, Medium: Watercolor, Size: 15 in. x 11 in. (38.1 cm x 27.94 cm), Description: Viewing the street at...

A Unique, Mid-Century Modern 1960s Chicago Harbor Scene Watercolor by Noted Artist, Rudolph T. Pen. Artwork is formatted in a trapezoid shape, an innovative compositional device for...

Braided Splendor: The Art of Twisted Gold Jewelry Design circa mid 20th century by Paul Touzet (French b. 1917) original gouache painting, with penc...

Mid Century French Portrait by Josine Vignon (French 1922-2022) Medium: Pencil on artists paper, double sided Size: 10 height) x 7.5 (width) Stamped Verso Condition: Good Provenan...

Dorothea Tanning (American, 1910–2012) Initially associated with the Surrealist movement, Dorothea Tanning developed a personal visual language that blurred the boundaries between r...

"The Portrait" by Geneviève Zondervan (French 1922-2013) pencil/ charcoal on thick paper, unframed paper size: 25 x 18.75 inches Beautifully decorative, mid 20th century French ori...

Medium: Gouache on Board Signature: Signed Lower Left The Saturday Evening Post cover, September 12, 1953

A. E. Halliwell (1905-1987) Hats Airbrush and pen 50 x 32 cm c.1930 Stamped signature Provenance: Family of the artist A.E. Halliwell (1905–1986) was a British artist, illustrator...

Art Sz: 11"H x 8 3/8"W 1944 Provenance stamp on verso: The Estate of Paul Desmond Brown *Book sold separately*

Abstract Expressionist Composition by Jacques COULAIS (1955-2011) gouache painting on paper/ card unframed: 12.5 x 7.15 inches condition: excellent provenance: all the paintings we h...

'Emile's Tavern', gouache on paper (circa 1930s), by Lucien Génin. A tavern in French is called a 'guinguette'. With the rise in living standards from the 1860s along with the develo...

A. E. Halliwell (1905-1987) Xmas Gifts Airbrush and pen 50 x 32 cm c.1930 Stamped signature Provenance: Family of the artist A.E. Halliwell (1905–1986) was a British artist, illu...

Medium: Pen & Ink, Color Pencil Onionskin Overlay on Board Signature: Signed Center Left Ink drawing on 15.00" x 20.00" illustration board, the image measures to 9.75" x 14.00." Includes preliminary sketch on newsprint and copies of the magazine. Caricature by George Wachsteter (1911-2004) for `The Garry Moore Show`, Carol Burnett...

Mid Century French Portrait Signed Josine Vignon (French 1922-2022) Medium: Pencil/ charcoal on artists paper, double sided Size: 9 (height) x 7 (width) Stamped Verso Condition: Goo...

Initialed in cartouche bottom center Provenance: Robert L. B. Tobin Foundation Matted but Unframed

Ricard Opisso - Beggars - Colored pencils Measurements drawing 21x31cm. Frame measures 39x48 cm. Damaged paper at bottom. Anti-reflective glass. Son of Alfredo Opisso y Viñas, journalist, historian and critic, and of Antonia Sala y Gil, his sister Regina Opisso, was also a writer. He comes from an enlightened family full of artists. His paternal grandfather was Josep Opisso y Roig, journalist and director of the Diari de Tarragona, father of the also writers Antonia Opisso y Viña and Antoni Opisso y Viña. His maternal great-grandfather was the painter Pere Pau Montaña, his maternal grandfather the fabulist Felipe Jacinto Sala and his maternal uncle, the painter Emilio Sala y Francés. His nephew was Arturo Llorens y Opisso, a writer better known under his pseudonym Arturo Llopis. Although he was born in Tarragona, his family moved to Barcelona when Opisso was only two years old. In modernist Barcelona at the end of the 19th century, Opisso worked as an assistant to Antonio Gaudí in the works of the Sagrada Familia in Barcelona since 1892. He was linked to the group Els Quatre Gats, along with Ramón Casas...

Title: Bullfighting Scene Artist: Roberto Domingo Technique: Gouache on paper Dimensions: 7 x 10 in (14 x 17.3 in with frame) Period: 1930s Style: Spanish Impressionism with Post-Impressionist influence Condition: Framed in a classic wooden frame Theme: Bullfighting scene Description of the Artwork "Bullfighting Scene" by Roberto Domingo is a vibrant and dynamic depiction of a typical moment in a bullring. The composition captures the drama and intensity of the moment, with a mounted picador on a striking white horse as the centerpiece, flanked by a matador and assistants preparing for the spectacle. The artwork radiates energy through swift and loose brushstrokes, imbuing the scene with movement and vitality. Domingo’s style emphasizes visual synthesis, focusing on color and form rather than meticulous detail to convey the atmosphere of the bullfighting arena. Warm tones dominate, with vibrant yellows and reds contrasting against the grays and whites of the horse and costumes, creating a captivating chromatic interplay. The classic frame adds sobriety and balance to the piece, further highlighting the expressive power of the gouache. Biography of the Artist Roberto Domingo Fallola (1883-1956), born in Paris, was a renowned painter and illustrator of Spanish descent. The son of the celebrated bullfighting painter Vicente Domingo, he inherited a passion for bullfights and became one of the leading exponents of bullfighting art...

Painter and Aquarellist. Nanterre (92) March 13th 1900 – Clichy (Seine) Dec 29th 1950. He was the son of Frank Boggs, an American citizen. He started his career with the nickname “Wi...

Couple putting on theatrical make-up for summer theatre Cover of American Weekly Magazine, June 20, 1954 Dimensions: 19.75 x 16.00 in. Medium: Gouache and Watercolor on Paper Signa...

Gold and Diamanté Leaf Duo Jewelry Design circa mid 20th century by Paul Touzet (French b. 1917) stamped with the designers print original gouache painting, with pencil on tracing pa...

Louise (McClure) Schatz (1916 – 1997) Born in Vancouver, Canada, Louise Schatz moved with her family at age three to Minnesota. Her father, a stage director, was part of the local Bohemian culture and traveled the theater circuit around the U.S. She earned a Master’s Degree in Fine Arts at the University of California, where she became a skilled water colorist. “My Japanese instructor showed me how to preserve several colors together on paper,” she noted. “Water colors can bleed into the paper, and the paper plays with the colors – some of which can even disappear. I have a great love of texture and what materials do to color. I was very excited to discover what happens to colors and how to achieve what I wanted.” Her interest in astronomy also led Louise to study science at the university. Louise joined the “California Seven” artists in 1945 and for the next three years created prints and textile patterns. During WWII, she earned her living as a sketch artist for ship builders in San Francisco Bay, and it was there she met her future husband, Bezalel. “Then, it was very avant-garde to hire women in ship-building,” she once recounted. “We used to take dimensions from engineers and make sketches. It was very trailblazing and exciting, and the ships were constructed very quickly and launched very quickly. Besides the fact that we contributed to the war effort, it was really beautiful art.” The Bohemian society developing in San Francisco at the time included the novelist Henry Miller, who was then married to Louise’s sister, Eve. “There was a group of artists in Big Sur, all of them poor,” according to Bezalel Schatz’s sister, Zohara. “They were a group of Beatniks before the hippy era of the 1960s. There were novelists, poets, and painters there who lived communally under primitive conditions and were close to nature.” Bezalel and Louise were married in 1948 and moved to Israel. There, together with Zohara, they founded the arts and crafts workshop, “Yad,” with the goal of creating and selling alternative art objects that differed in style from those of the Bezalel School of Art. The couple divided its time between the family home in Jerusalem and a residence in Ein Hod designed for them by the architect David Resnik. Despite her connection to the Schatz family and her active involvement in the Israeli art world at the time, Louise guarded her privacy and rarely granted interviews. As Henry Miller wrote, “Her paintings reflect and reveal the extent of her sensitivity, shyness, and gentleness…” Scenes of Israel were a source of inspiration for Louise, and, in addition to her abstract Bauhaus geometric works, she also painted landscapes, flowers, and other elements of the environment in which she worked. Louise worked mainly in water colors but also created collages, book illustrations, and applied art. Among her outstanding works are murals for Zim’s “Shalom” and “Theodore Herzl” ships (together with Bezalel), El Al’s London office, and Jerusalem’s tenth anniversary exhibition, as well as ceramic walls for Jerusalem’s Midreshet Amalia and Beit Ha’am Library. She was awarded the Silver Medal in 1954 at the tenth Triennale in Milan for her copper designs, and in 1952 she received the “Above Competition” prize for her textile designs at the Bezalel National Museum. She was also awarded the Shen Beit Haomanim Prize in 1970 and the Jerusalem Prize for painting in 1973. Louise took part in many art exhibitions in Israel and abroad. Her works are held by the Israel, Tel Aviv, and Haifa Museums, and in private collections in Israel, the U.S., England, Switzerland, France, and Italy. Following her husband’s death in 1978, Louise continued to live with her sister-in-law, Zohara, at the family home in Jerusalem on Schatz Street. Louise died in Jerusalem in 1997. She has been called in the pages of the Jerusalem Post " the greatest Schatz of all" and "Israel's finest watercolorist" Parts of her work summon up affinities with Paul Klee and Julius Bissier and occasionally even Joan Miro. But she never copied any of them. Her work also bears affinities for Lyonel Feininger and Wassily Kandinsky Between 1937 and 1951, Bezalel resided in the U.S. Near the end of WWII, he worked in a California shipyard, and it was there he met his future wife, Louise. He was also introduced to the novelist Henry Miller in California, and their friendship blossomed into a creative collaboration. The artist May Ray recorded his observations about the two, noting that “I have never encountered such smooth cooperation…” Bezalel produced silkscreen prints for Miller’s novel, Into the Night Life, an innovation for both the art and publishing worlds. In Florence, New Mexico, New York, San Francisco, and other locations, Bezalel exhibited his own work and participated in group shows with some of the greatest artists of his era – Picasso...

This artwork "The Old Red Barn" c.1965 is a watercolor on paper by noted American artist Frederick Cole. It is signed at the lower right corner by the a...

John Begg studied art at Columbia University, with Arthur Wesley Dow, with Charles Martin, and studied sculpture with Jose De Creeft and Ossip Zadkine.  He was a member of the  Ameri...

Thelma Frazier Winter (American, 1905-1977) On the Balcony Pastel on paper Signed lower right 20 x 16 inches Thelma Frazier Winter was an American enamelist, ceramic sculptor, and p...

Mid Century French Portrait Signed by Josine Vignon (French 1922-2022) Medium: Pencil/ charcoal on artists paper, double sided Size: 9 (height) x 7 (width) Stamped Verso Condition:...

Mid Century French Portrait Signed by Josine Vignon (French 1922-2022) Medium: Pencil/ charcoal on artists paper, double sided Size: 10.75 (height) x 8.25 (width) Stamped Verso Con...

Art Sz: 23"H x 14 1/4"W Alexander Warren Montel (1921-2002)

Abstract Expressionist Composition by Jacques COULAIS (1955-2011) gouache painting on paper/ card unframed: 12.75 x 9.75 inches condition: excellent pr...

Bellissimo ,studio per manifesto pubblicitario di un Tennis club a Marina di Pietrasanta, Italia,Toscana Originale 1940 circa

Original advert artwork "Arpege Perfume" for Lanvin of Paris c1950s Art Sz: 13 1/2"H x 10"W Frame Sz: 18 3/4"H x 15 1/2"W w/ gilt bamboo frame

Artist: Ian Hornak (1944-2002) Title: Renaissance Male Nude Figure Study Year: circa 1963 Medium: Original drawing on vélin paper Size: 23 x 18 inches Condition: Good Provenance: Est...

Art Sz: 9 1/2"H x 12 1/2"W 1933 Proof Plate for 'Spills and Thrills' Published by Charles Scribner's Sons New York 1933

Oval Watercolor Landscape watercolour on artist paper, stuck on black paper painting: 12.75 x 10 inches provenance: private collection condition: very good and sound condition

"Streetscape" American Scene WPA Era Social Realism Mid 20th Century Industrial Herbert Heyel (American 1907-2000) "Streetscape" 14 x 20 inches Watercolor on paper, c. 1939 Signed l...

Frank Dobson (1888-1963) Study of a nude viewed from behind Signed Sanguine chalk on paper 10 x 13½ inches 21¼ x 24¼ inches with frame A wonderful exam...

Frank Duffield (British, 1908-1982) original watercolour painting on board, unframed size: 11 x 14.75 inches condition: overall very good, minor wear to the edges as is normal for an...

Classic Turrey "With God I Shall" coat-of-arms in gouache c1950s Art Sz: 11 3/4"H x 9 3/4"W Frame Sz: 13"H x 11"W

Pen, oil pastel and watercolor on paper realized by an unknown artist in the mid-20th Century. Not signed. Veru good condition.

Pencil drawing realized by mino Maccari in the 1930s. Not signed. Drystamp "Tiziano" in the lower right corner. Lightly worn in the upper left corner.

Drawing in pen realized by Mino Maccari in 1960s. Hand signed lower left. Very good condition..

Classic pencil sketch c1930s by the equine master, Paul Desmond Brown Art Sz: 7 3/8"H x 10 1/2"W Frame Sz: 14"H x 17"W

Pen & ink c1950s fashion sketch in a gilt bamboo frame Art Sz: 8"H x 4 1/2"W Frame Sz: 11 3/4"H x 7 3/4"W

White Roses in a Glass Stem Vase by Henri Miloch (1898-1979) signed lower left watercolour painting on artist's paper, unframed sheet: 13.5 x 9.75 inches Very pretty still life pa...

Chorus Line Oil pastel on paper, c. 1960's Signed (see photo) Provenance: Estate of the Artist Estate of the artist (Estate No. 745) Condition: Excellent Image/Sheet size: 5 3/4 x 4 inches Sam Spanier (1925-2008) Born in Brooklyn New York, Sam Spanier studied painting with Hans Hofmann (1949–50) and also at the Taos Valley Art School (1951). His formative years as a working artist were spent in Paris (1951–52), where he also became involved with the work of G. I. Gurdjieff, through his disciple, Mme. Jeanne de Salzmann. By 1953, Spanier’s work had already begun to meet with critical acclaim. That year, he had his first solo gallery show, and was selected by Milton Avery and Hans Hofmann to receive the prestigious Lorian Fund Award. His second solo exhibition, in 1955, was curated by renowned museum director, Gordon Washburn. Spanier’s early work was reviewed by Dore Ashton, Donald Judd, Fairfield Porter, Stuart Preston, and Irving Sandler, among other significant critics of the period. Spanier’s spiritual path increasingly became the central focus of both his life and his art. In 1960, he was introduced to the teachings of Sri Aurobindo, which led to visits to the Sri Aurobindo Ashram in Pondicherry, India, in 1962 and 1964, during which he was inspired to leave New York City and found Matagiri (in 1968)—a spiritual center in Woodstock, New York—with his lifelong partner, Eric Hughes. The work he embarked upon there bifurcates his life as an artist, separating him from New York’s art world, and radically altering the trajectory of his career. From that point forward, it would be difficult, perhaps impossible, to consider his artistic endeavor apart from the life of dedication he had undertaken, and to which he remained committed. As early as 1954, Dore Ashton had recognized in Sam Spanier a “haptic visionary;” in 1960, Irving Sandler wrote that the people in Spanier’s paintings “seem to have witnessed some transfiguring event.” In his later paintings—usually worked in oil pastel on panel or paper—made during intermittent creative periods, from the mid-1970s to the final years of his life, the artist’s inner life remains always apparent in his subject matter; and from the portraits and abstract Buddha-like figures and heads, to the fantasy landscapes, the paintings are redolent with a rich intensity of color and light that can only be described as inspired. Sam Spanier’s works are in the collections of the Historical Society of Woodstock Museum, and the Woodstock Artists Association & Museum. He received the Woodstock Artists Association Lifetime Achievement Award in 2007. Selected Solo Exhibitions: Urban Gallery, New York (1954, 1955, 1956); Wittenborn Gallery, New York (1958); Gallery Mayer, New York (1958, 1959, 1960); Unison Gallery, New Paltz (1986, 1995, 2009); Limner Gallery, New York (1988); Fletcher Gallery, Woodstock, New York (1999). Selected Group Exhibitions: Salon des Comparaisons, Musée d’Art Moderne, Paris, France (1952); October Exhibition of Oil Paintings, New York City Center Gallery, New York (1954); Salon de Mai, Musée d’Art moderne de la ville de Paris, Centre Culturel de Saint-Germain-en-Laye, Paris, France (1954); Carnegie International, Carnegie Institute, Pittsburgh, Pennsylvania (1955); Les Plus Mauvais Tableaux, Galerie Prismes, Paris (1955); Première Exposition Internationale de l’Art Plastique Contemporain, Musée des Beaux-Arts de la Ville de Paris (1956); Recent Paintings USA: The Figure, The Museum of Modern Art (1960); Winter’s Work, Woodstock Artists Association, Woodstock, New York (1985); Juried Group Show, Woodstock Artists Association, Woodstock, New York (1986); Woodstock Artists, Self-Portraits, Historical Society of Woodstock Museum, Woodstock, New York (1988); Portraits, Albert Shahinian Fine Art, Poughkeepsie, New York (2003); The World We Live In, Upstate Art, Phoenicia, New York (2003); Show of Heads, Limner Gallery, Phoenicia, New York (2004). Selected Writings on the Artist: Dore Ashton, “Sam Spanier,” Art Digest (May 1, 1954) and “Sam Spanier,” The New York Times (March 16, 1960); Cassia Berman, “Sam Spanier: A Divine Calling,” Woodstock Times (February 7, 2008); Lawrence Campbell, “Sam Spanier: Exhibition of Paintings at Urban Gallery,” Art News (April 1, 1954); Sam Feinstein...

Eve Nethercott, American (1925 - 2015) - Nude (Carol Kirshenbaum) (P5.5), Year: 1959, Medium: Watercolor on Paper, Size: 22 x 15 in. (55.88 x 38.1 cm), Description: Leaning a...

Artist: Ian Hornak (1944-2002) Title: Renaissance Female Nude Study Year: circa 1963 Medium: Original drawing on vélin paper Size: 23 x 18 inches Condition: Good Provenance: Estate o...

Art Sz: 9 1/2"H x 12 1/2"W 1933 Proof Plate for 'Spills and Thrills' Published by Charles Scribner's Sons New York 1933

Art Sz: 9 1/2"H x 12 1/2"W 1933 Proof Plate for 'Spills and Thrills' Published by Charles Scribner's Sons New York 1933

Art Sz: 9 1/2"H x 12 1/2"W 1933 For Radnor Foxhall Farm Challenge Cup Proof Plate for 'Spills and Thrills' Published by Charles Scribner's Sons New York 1933

An early painting by Omar Rayo from 1955. An abstract geometric work with multi-colored shapes on a surrealist horizon. Artist: Omar Rayo, Colombian (1928 - ) Title: Mountains Year:...

Original advert watercolour c1950s artwork for Lanvin of Paris by illustrator, Alexander Warren Montel (1921-2002) Image Sz: 11 5/8"H x 18 1/4"W Fram...

James Tower. English ( b.1919 - d.1988 ). Still Life Of Flowers In A Jug And A Plate Of Fruit. Watercolor & Ink. Image size 15.4 inches x 13 inches ( 39cm x 33cm ). Frame size 22.2 ...

Mid 20th Century sketch drawing on paper by the Dutch artist Wim Oepts for his painting Jardin du Luxembourg from 1948 (SK115 Monografie en Oeurvr...

William Thon, 'The Ruby R', watercolor, c. 1990. Signed, lower right; titled verso. A fine, expressionist work, on off-white watercolor paper; the image extending to the sheet edges....

French Landscape by Bernard Labbe (French mid 20th century) original watercolour/ gouache on artist paper, unframed size: 17 x 11.5 inches condition: very good and ready to be enjoye...

Original circa1950's (two-sided) advert watercolour by Alexander Warren Montel (1921-2002) for Lanvin of Paris to promote their sunscreen product-line

Classic charcoal polo drawing depicting 4 players on the field Art Sz: 8 1/4"H x 11 1/4"W Frame Sz: 13 1/2"H x 16 1/2"W