Framed Portrait Drawings and Watercolors

Oil on paper Created in 2019 in Paris, France Unique work Signed by the artist Parmis Sayous was born in 1982 in Teheran, Iran. Since 2015, She has lived and worked in Paris and ded...

Ink and pastel on paper Created in 2020 in Paris, France Unique work Signed by the artist Parmis Sayous was born in 1982 in Teheran, Iran. Since 2015, She has lived and worked in Pa...

Farmhand in a Cowshed by Yvon Pissarro (b. 1937) Graphite on paper 56 x 76 cm (22 x 30 inches) Signed lower left Yvon Vey Provenance Studio of the arti...

This small portrait of gallerist David Barnett is an intimate example of the watercolors of Estherly Allen. She was a student of George McNeil, an important Abstract Expressionist, a...

Graphite on paper, signed and dated '13 Feb (19)19' bottom left Image size: 13 x 8 1/4 inches (33 x 21 cm) This is a portrait of a German airman that was done by the artist at the start of 1919. The artwork has been created on the reverse of a document from Adlershof, a German Air Park. This exact document is from the 'Airman Replacement Department' and is a request form for replacement parts for aircrafts - it asks the writer to specify the type and number of aircrafts, the type of engine and details of its propellers. Adlershof is a place with a long and famous history. Germany's first motorised aircraft took off from here at the beginning of the 20th century and the Wright brothers moved their company to the airfield in 1909 shortly after it was opened. In 1912 German Experimental Institute for Aviation was established and made the location it's headquarters. Indeed, pre-war it was often known as 'The cradle of German Aviation'. During the war the War ministry used the site for extensive military production and it is particularly well known for a series of competitions between various aviation firms' fighter aircraft designs that were held in 1918 and 1919. Even after the War had ended, work continued at Adlershof with the final flight competition being held between February and May 1919 (when this portrait was created). Eventually, the signing of the Versailles Treaty ended all military aircraft work for Germany and led to the dissolution of the Luffstreikrafte in May 1920. Karl Ludwig Nagel...

Medium: Watercolor on Paper Signature: Signed Lower Left Good Housekeeping Cover Illustration, June 1947

Graphite on paper, monogrammed lower left Image size: 6 x 6 1/2 inches (15.25 x 16.5 cm) Contemporary style handmade gilt frame Henry Perronet Briggs Henry Perronet Briggs RA wa...

Graphite on paper, signed and dated Image size: 18 x 12 1/2 inches (46 x 32 cm) Mounted and framed The sitter for this portrait, Alfred Hardiman, was an English sculptor. Hardiman and Lyon were friends and met when they both attended the British School at Rome in the early 1920s. Hardiman won a London County Council Scholarship to the Royal College of Art in 1912, and three years later joined the Royal Academy School. After a period as an engineer's draughtsman in the Royal Flying Corps during the First World War, Hardiman resumed his studies and in 1920 was awarded the British Prix de Rome scholarship, spending two years at the British School at Rome. There he developed his style, a blend of naturalism and classicism influenced by Roman and Etruscan art and early fifth century Greek sculpture. Hardiman's best-known (but also most controversial) work is the Earl Haig Memorial on Whitehall in London. More universally admired are the heraldic lions flanking the main entrance to the City Hall, Norwich, a work which fully epitomises his style. He was appointed consultant sculptor to the building, having worked with one of the architects, Stephen Rowland Pierce, on the Haig Memorial. Hardiman also carved three large stone figures for the outside of the council chamber, and worked with other sculptors on the project including James Woodford and Eric Aumonier. Hardiman was elected Associate of the Royal Academy in 1936 and a full Academician in 1944. He became a fellow of the Royal Society of British Sculptors in 1938 and the following year received their silver medal for his statue of Haig. In 1946 he won a gold medal for his bronze fountain figure for the New Council House, College Green, Bristol, which however was never erected. In 1918 he married Violet, daughter of Herbert Clifton White, of London, and had two daughters. He died at Stoke Poges on 17th April 1949. Robert Lyon...

Mixed media on paper Paper size: 14 x 12.25 inches Framed size: 23.75 x 21.75 inches Signed lower right

Graphite on paper, signed bottom left Image size: 7 1/2 x 9 3/4 inches (19 x 25cm) Contemporary frame A characterful portrait of a woman in profile. The artist has captured much of ...

John Raphael Smith 1751 - 1812 Portrait of a Young Lady Pastel on paper on canvas stretcher Image size: 9 x 7 inches (23 x 18 cm) Gilt frame

"Corey" is an original oil pastel drawing on grocery bag by Reginald K. Gee. The artist signed the piece lower right. This artwork depicts a portrait of a man over a tempestuous wash...

Date: 1930s Medium: Pastel on Thick Paper Dimensions: 30.00" x 22.00" Signature: Signed Lower Left Crandell (1896-1966) was the undisputed "artist of the stars," befriending and immortalizing Hollywood's most beautiful starlets in his portraits. Among his subjects were Bette Davis, Judy Garland, Carole...

Graphite on paper, signed lower right Image size: 17 x 21 inches (43.25 x 53.25 cm) Contemporary frame James Stroudley Stroudley was born in London on 17 June 1906, the son of James Stroudley, showcard and ticket writer. He studied at Clapham School of Art (1923-27) and then at the Royal College of Art (1927-30), where his teachers included Alan Gwynne-Jones and William Rothenstein. As a recipient of the first Abbey Scholarship he was able to spend three years in Italy from 1930, where he absorbed the influences of Giotto and Piero della Francesca, and produced one of the last wholly satisfying decorative cycles by a Rome Scholar of the period. From 1934, he exhibited at the Royal Society of British Artists, and was elected to its membership in the following year. From the Second World War – in which he worked with the Camouflage Unit – Stroudley taught at St Martin’s School of Art and was a visiting lecturer at the Royal Academy Schools. Though he continued to live in London, his later work, exhibited at the Royal Academy from 1955, indicated regular painting trips to Kent and Sussex coasts. However, much of his later work was abstract. In 1971, his former student, Peter Coker, paid homage to Stroudley by including his work in the exhibition ‘Pupil & Masters’, held at Westgate House, Long Melford, Suffolk. Stroudley married three times, and his wives included the fashion artist to the Sun newspaper...

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

Graphite on paper Image size: 11 ¾ x 8 ½ inches (30 x 21.5 cm) Original frame This superbly-drawn portrait highlights the artist’s undeniable skill as a portrait artist, particularl...

Miss Twisty is a story of a young girl who leaves the big city to spend time in the country. The book is filled with insight and humor. This work is a deftly rendered black-and-wh...

Art Sz: 9 1/4"H x 6"W Frame Sz: 14"H x 10 1/2"W

Pastel on paper Image size: 13 x 17 1/2 inches (33 x 44.5 cm) Mounted and framed This original pastel drawing by Thomas Frye is a half-length portrait of a man dressed in a turban. This drawing is the original sketch for one of the heads depicted in Frye's collection 'Twelve Mezzotint Prints' of 1760 and it can be assumed that this pastel work was created earlier of this same year. Two versions of the print, created from this original work, are currently held in the collection of the National Portrait Gallery and the Metropolitan Museum of Art. Frye's evocative figures, although presumably based on living models, exceed the conventions of portraiture, and also function as character studies. The man shown here - dressed in the fashionable 'Turkish' manner - turns with parted lips as if poised to speak, while raising the elegant fingers in one hand in a rhetorical gesture. His long eyelashes and smoothly rendered wrinkles and dimples are hallmarks of Frye's refined style. The Artist Thomas Frye (c. 1710 – 3 April 1762) was an Anglo-Irish artist, best known for his portraits in oil and pastel, including some miniatures and his early mezzotint engravings. He was also the patentee of the Bow porcelain factory, London, and claimed in his epitaph to be "the inventor and first manufacturer of porcelain in England," though his rivals at the Chelsea porcelain factory seem to have preceded him in bringing wares to market. The Bow porcelain works did not long survive Frye's death; their final auctions took place in May 1764. Frye was born at Edenderry, County Offaly, Ireland, in 1710; in his youth he went to London to practice as an artist. His earliest works are a pair of pastel portraits of boys...

The pair consists of the present work and an engraving after it by the hand of Giles DeMarteau (Liège 1722 – 1776 Paris) titled Woman in Fantasy Costume, after Jean Baptiste Le Prince, and measuring, 10 ⅜ x 8 ⅝ inches (26.5 x 22 cm). DeMarteau's engraving is inscribed at the bottom: Le Prince inv. del. / Demarteau sc. / A Paris ches Demarteau Graveur du Roi, rue de la Pelterie à la Cloche...

Original artwork by Judy Fleminger, wife of master jeweler, Irving Gold (1914-2007) who created works for (over sixty years) Van Cleef & Arpels Art Sz: 12"H x 8 3/4"W Frame Sz: 16 ...

Frank Jameson 1899 - 1968 Self Portrait Graphite on paper, signed lower right Image size: 15 x 9 inches Contemporary frame Frank Jameson was born in London and later moved to Birmingham where he attended evening classes in drawing and painting at Birmingham Art School. By day he worked as an insurance salesman. During the First World War he became an officer in the Worcester Regiment and was in charge of building bridges and block houses. He returned to the Midlands but then travelled widely by rail, eventually discovering St Ives where he was inspired by the stunning scenery. He stayed and rented the Loft Studio. He also became a member of the St Ives Society of Artists and exhibited frequently with his fellow artists, especially John Park...

Entitled "Drawing for Allegheny + Ludlum Helmet & Jacket," this work by Chicago-based artist Patrick Fitzgerald is a companion piece to his sculpture "A+L Helmet & Jacket." Worn by the imagined driver of one of his miniature soap box derby cars, each helmet & jacket is branded with an industrial sponsor, in this case the Allegheny Ludlum Corporation, a steel manufacturer from the early 20th century. Mounted on subtle collage materials and paper fragments...

French School 18th Century Portrait of a Young Man Charcoal and pastel on paper Image size: 11 x 7 inches Contemporary gilt frame

Katie Blackmore, R.B.A., A.S.W.A. (fl.1913-1950) She was a female illustrator and artist who painted fantastic scenes of fairies and Angles and Doves floating in celestial space. Blackmore exhibited at the RBA, and also at RA, RI, RHA, Ridley Art Club, Carfax Gallery, Royal Glasgow Institute...

Medium: Pastel on Board Signature: Signed Lower Right Sunday Magazine The Sun Cover, October 4, 1914.

Watercolour on paper Paper size: 21 x 13.5 inches Signed lower right

East meets West in this charming illustration where a female American Illustrator paints a scene of two jovial Japanese youths in a semi-Japanese style. Clara Miller Burd was a brilliant female illustrator trained in the academic tradition. This work shows her deep mastery of how to render form properly. The way she captures the expression the two children is spot on. Signed lower right. Burd was an American stained glass designer, and children's book, and magazine cover illustrator. She was a resident of Montclair, NJ and there is a gallery sticker on the back for a gallery in Montclair. Framed under glass 17 x 22 1/2". After returning from France, Burd worked as a stained glass designer at the Tiffany Glass and Decorating Company...

Medium: Watercolor on Paper Signature: Signed Lower Right

Medium: Charcoal on Paper Signature: Signed Lower Right

Date: 1936 Medium: Pastel Dimensions: 14.00" x 18.00" Signature: Unsigned Original cover artwork for Smith & Street's Picture Play Magazine, April 1936 by Tatiana Fall.

Date: 1935 Medium: Pastel Dimensions: 25.50" x 22.00" Signature: Signed Lower Left Carole Lombard Holding Compact Cover of Cosmppolitan Magazin...

Medium: Unknown Signature: Signed Lower Right Man in Tie, study by Joseph Christian Leyendecker. Contact for exact dimensions of this piece.

Medium: Charcoal and Wash on Board Dimensions: 30.00" x 19.00" Signature: Signed Lower Right

Watercolour on paper Paper size: 7.5 x 10.5 inches Framed size: 15 x 17.5 inches Signed lower left

Medium: Pastel on Paper Signature: Signed Lower Left Contact for exact size dimensions.

"Nakul Mondal (b. 1982 Burdwan, West Bengal India) completed his M.F.A. in painting from the historic art school Kala-Bhavana, founded by Rabindranath Tagore, where he was exposed to...

In the National Museum of the American Indian in Washington DC I learned that all indigenous peoples in Latin America, from Alaska to Patagonia, are connected through their DNA. In o...

Julius Thiengen Bloch (American, born Germany, 1888–1966) Portrait of a Man, c. 1943 Pencil on paper, 5 1/2 x 3 1/2 inches FRAMED: 13 x 11 inches (approx.) This sketch comes direct...

José Vivenes Untitled, 2006 Oil pastel on paper 20 1/2 x 15 1/2 inches (52.1 x 39.4 cm)

Acrylic paint and ink on paper Hand-signed and dated lower right

Acrylic paint and ink on paper Hand-signed and dated lower right

Acrylic paint and ink on tracing paper Hand-signed and dated lower left

Mixed media on tracing paper hand-signed and dated lower left

Ink on paper Signed and dated lower right by the artist

Ink and pastel on canvas Created in 2019 in Paris, France Unique work Signed by the artist Parmis Sayous was born in 1982 in Teheran, Iran. Since 2015, She has lived and worked in P...

Early 19th century French School, Portrait of a young man in profile charcoal on cut paper applied to pink tinted paper Oval 58 x 47 cm (overall size) the portrait itself 41.5 x 28...

Black ink on paper Paper size: 8.25 x 10.5 inches Framed size: 20.75 x 21.75 inches Signed lower left Provenance: Private collection, Somerset

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

Signed pencil on paper portrait drawing by Italian artist Amedeo Clemente Modigliani. The portrait is of Berthe Lipchitz who was the wife of Modigliani's friend, the sculptor Jacques Lipchitz. This work is a study for "Portrait of Jacques & Berthe Lipchitz" which hangs in the Art Institute of Chicago. Signature: Signed lower right Dimensions: Framed: 26.75"x18.25" Unframed: 18.75"x12.25" Provenance: The collection of Leopold Survage The collection of Dimitri Snegaroff The collection of Leopold Zborowski Galerie Charpentier - Paris 1958 Private french collection Galerie Pierre Levy - Paris Private collection - United Kingdom Exhibited: Galerie Charpentier - Cent Tableaux de Modigliani - Paris, 1958 Les Peintres de Zborowski - ~Foundation L'Hermitage, Lausanne 1994 Amedeo Modigliani Exhibition - Museo d'Arte Moderna, Lugano 1999 Amedeo Modigliani was born into a middle-class Jewish family and was the brother of Eugenio Modigliani, who later became the leader of the Italian socialist workers’ party prior to the rise of fascism. Modigliani suffered from poor health as a child and contracted pleurisy in 1895, followed in 1898 by typhus with pulmonary complications, which culminated in tuberculosis in 1901. He moved to Livorno to study under Guglielmo Micheli, who had himself been a pupil of Giovanni Fattori, one of the Macchiaioli group of painters who worked in strong colour patches (macchie) to achieve vivid light and colour effects; their approach came as a reaction against academic art in Italy and, in much the same way as the French Impressionists, they advocated painting from nature rather than aspiring to communicate any particular message or ideology. In 1902, Modigliani enrolled at the academy of fine arts in Florence. He travelled to Rome and Venice in 1903, where he devoted the bulk of his day to visiting museums. At around this time he started to read Dante, dreaming no doubt of the Vita Nuova; he also devoured the works of Leopardi, Carducci, d’Annunzio, Spinoza and Nietzsche. In 1906, Modigliani moved to Paris, lodging at the Rue Caulaincourt. At that juncture, nothing about him appeared to presage the brilliant career that was to follow. His arrival in the artists’ quarter, then known colloquially as the maquis - the labyrinthine tangle of narrow streets around today’s Avenue Junot in Montmartre - went virtually unnoticed by the artists already living and working there, including Picasso, Braque and Derain. Modigliani’s painting made next to no immediate impact and he was recognised primarily on account of his frail constitution, flashing eyes, innate elegance and intellectual prowess. He was accepted in the community that was Montmartre but never belonged to any particular ‘set’ or circle, and there is no record of his ever having been invited to Pablo Picasso’s studio, the famous ‘wash house’. The literate and highly articulate Modigliani opted instead for the companionship of Maurice Utrillo, an instinctual painter of whom it could charitably have been said that his conversation was, at best, limited. Nonetheless, Modigliani and ‘Litrillo’ (as Utrillo was commonly known to the street urchins - the ‘p’tits poulbots’) began to frequent the cabarets and dance halls of the Butte de Montmartre, and the nefarious hashish dens - post-Baudelaire ‘institutions’, frequented in the main by out-of-work writers and talentless artists. Modigliani developed an addiction, which, compounded by his alcoholism, took its toll. It also transformed him from an artist of limited ability into one devoid of bourgeois scruples. In his monograph, Modigliani: Sa Vie et Son Oeuvre, written in 1926 shortly after Modigliani’s death, André Salmon hinted at a ‘pact with the devil’. While somewhat overstating the case, this rather unpromising painter from Livorno metamorphosed virtually overnight into an artist of rare ability and sensitivity. The turning-point came in 1907, when Modigliani met Paul Alexandre, a doctor who befriended him, took him under his wing and purchased some of his work. The banal paintings he had turned out in Montmartre were suddenly superseded by exceptional works, produced first in Montmartre ( Cellist, 1909), and then in Montparnasse. In Montparnasse, Modigliani started to move in artistic circles, meeting Chaim Soutine, Marc Chagall, Jules Pascin and others, all of whom lived and worked in the building in the Rue Vaugirard known as ‘La Ruche’ (‘the beehive’). Then, in the Cité Falguière, he met the Romanian-born sculptor Constantin Brancusi, who encouraged him to take up sculpture, which he did, between 1909 and 1913. In 1914, several dealers, including the erstwhile poet Léopold Zborowski and the collector Paul Guillaume, tried with little success to market Modigliani’s paintings. From 1914 to 1916, Modigliani was caught up in a tempestuous affair with the English poet and journalist Beatrice Hastings. In 1917, however, he met Jeanne Hébuterne at the Colarossi Academy, who became his constant companion and model, and who gave birth to their daughter Jeanne in 1918. In 1918 and 1919, Modigliani and Jeanne spent time in Nice on the Côte d’Azur but by 1920 he was suffering from tubercular meningitis. His friends, Kisling and the Chilean Ortiz de Zarate, brought him and a pregnant Jeanne back to Paris, where he died on January 20 1920 in the Hôpital de la Charité. His last words were reputed to be: ‘Cara Italia’. Modigliani’s brother, by this time a socialist member of parliament, telegrammed instructions to ‘bury him as befits a prince’. Jeanne Hébuterne, a budding twenty-year-old painter, killed herself and her unborn child on the day of Modigliani’s funeral by jumping to her death from a fifth-floor window. Modigliani’s first paintings were undistinguished portraits in the Impressionist manner. After moving to Paris in 1907, his early work was influenced by the Swiss-born lithographer Théophile Alexandre Steinlen, Henri de Toulouse-Lautrec and Pablo Picasso, the latter then in his ‘blue’ period. From the onset, Modigliani’s principal preoccupation was the human figure. After the artistic (and literal) limbo of Montmartre, when his output was confined to a few Expressionist-like paintings of street life, the theatre and the circus, Modigliani suddenly erupted on the scene in 1909 with Cellist, a robust, well-constructed and vividly coloured canvas that utterly exceeded all prior expectations. He had not taken part in the protracted debates that took place nightly in Picasso’s studio, but he had superficially assimilated the Cubist ideas developed by Picasso and Georges Braque. Above all, Modigliani had been influenced by African art, which was a key feature of the Cubist movement. He succeeded in treading a fine line between the coolly analytical Cubist approach and the all-too-common European perception of African art as a succession of exaggerated facial grimaces. It would appear that Modigliani had always been attracted to sculpture as a discipline. The friendly encouragement he received as of 1909 from Brancusi no doubt intensified his interest and reinforced his attempts to achieve a sustained simplicity of line and form. In 1910, he befriended the Russian artists Alexander Archipenko and Jacques Lipchitz, both of whom recorded Modigliani’s distaste for modelling in clay (which he referred to as ‘mud’), on the grounds that it degraded the art of sculpture. Like Brancusi, Modigliani believed in working directly, carving from wood in the case of two extant pieces, and from (sand)stone in others, with the exception of a few bronzes which were, presumably, modelled in clay before being cast into bronze. His sculpture was influenced by archaic and non-western cultures - early Graeco-Roman, African and Khmer - as well as heads carved on columns adorning the façades of Romanesque and Gothic cathedrals (Modigliani rarely sculpted a rear view of his figures). Up to approximately 1912, his sculptures take the form of tall cylinders, usually with elongated heads and shallow relief indentations or projections to indicate the hairline, facial features and neck. He departed from this style only infrequently, most notably in a small number of pieces believed to have been sculpted in 1913, which are characterised by a compressed, cubistic format and shallower and less distinct features. Modigliani eventually abandoned sculpture, presumably because of his general health and circumstances, and possibly due to the fact that his sculptures sold for even less than his paintings. During the years that he devoted to sculpture, Modigliani is recorded as producing only thirty canvases, although after 1913 his sculpture became reflected in his painting. Following his Montmartre days, Modigliani’s work developed in both quantitative and qualitative terms, presumably helped by the relative stability of his relationship with Jeanne Hébuterne. The first paintings after his short-lived sculptural phase saw him revert briefly to Neo-Impressionist pointillism, followed by a episode marked by Cubism, which was mainly evident in portraits of friends and fellow artists living and working in Montparnasse: Henri Laurens; Juan Gris (1915); Jacques Lipchitz and his Wife; Chaim Soutine; Léopold Sauvage; Paul Guillaume; Max Jacob; Béatrice Hastings con Capello (all 1916); Mlle Modigliani (1917); Léon Bakst; Léopold Zborowski; Concierge’s Son; Adolescent (1918); Mademoiselle Lunia Czechowska; Madame Zborowska; Portrait of the Artist’s Wife (1919). A large number of other portraits exist among his drawings, most of which were executed impromptu in the street or cafés. These quickly drawn portraits often exhibit an urgency and surprising lucidity. Examples include Portrait of the Gypsy Painter Fabiano de Castro; André Salmon (1918); Portrait of the Artist’s Wife (1919); and Lada, Author; Mario, Composer (1920). Whatever his shortcomings, Amedeo Modigliani ranks as one of the 20th-century’s greatest painters of the female form. The bulk of his painted nudes were produced in 1915-1916 (prior to that date they were predominantly drawings), and are taken from every walk of life, such as a regular at a Montparnasse café, or a waitress at the soup kitchen where he ate his meagre meals. In each instance, he invested his models with an almost aristocratic hauteur. This is exemplified in a number of paintings (usually based on numerous prior drawings): Flower Girl; Blonde Lady; Sleeping Nude (1917); Blonde Nude; Young Woman; Maria (1918); Pink Nude; Reclining Nude; Nude on a Divan; Woman with a Fan (1919); and Young Woman in a Chemise; Reclining Nude (1920). Modigliani painted his subjects in elongated, elliptic ovals: the swell of a breast, the pronounced curve of the pelvis, the fullness of the thigh, the symmetrically oval face and the graceful arabesque of the body. Facial features are reduced to a bare minimum, with the eyes typically empty, like those of a statue. He employed colour as a constructive material in much the same way as stone in sculpture, juxtaposing muted pinks, ochres and pale browns against discreet background tones supplied by décor and garments. The overall effect is to yield a flat image devoid of chiaroscuro but which captures the essence of a subject. It has often been remarked that his women, with their elongated heads and long, graceful necks, generally tilted to one side, possess a melancholy beauty akin to that of the Siena Madonnas (reproductions of which Modigliani kept pinned on his studio wall), which accounts for Modigliani’s soubriquet as the ‘painter of sorrows’. From 1917, the majority of his nudes, characterised by a more pronounced elongation of the female body and lighter palette, were modelled by Jeanne Hébuterne and Luna Czechowska. Very few artists have been the subject of so many monographs and biographies as Modigliani; the selection appended to this entry indicates only some of the more important of these. Too much, perhaps, has been made of his life as an artiste maudit, of his ‘accursed’ yet colourful life rather than the quality of his work. Some critics have detected in him an artist of great and persistent intellectual curiosity; others emphasise that he was a ‘gentleman to the end’ and stress his physical frailty, ignoring the fact that this was an integral component of his creativity. More seriously, his posthumous fame amongst the public at large acts both for and against him, as if his subsequent popularity has become a yardstick of his artistic ability. The mannerism of his style ensures that a ‘Modigliani’ is instantly recognisable, but his success in adapting Cubism and African art to a language and palette that are entirely his own places him squarely at the heart of the modern movement. Amedeo Modigliani’s work has featured in numerous group exhibitions, including: Paris in 1908, when he showed his Jewess and three other canvases; the Salon des Indépendants in 1910; and the Salon d’Automne in 1912, where he exhibited examples of his sculpture. His posthumous inclusion in the 1922 Venice Biennale was regarded in Italy as a complete fiasco, prompting the critic Giovanni Scheiwiller to paraphrase Charles Baudelaire’s remark to the effect that, ‘we know that precious few will understand us, but that shall be sufficient’. In 1917-1918, the Berthe Weill Gallery organised a one-man show at the instigation of Zborowski but, on the order of the then chief of police, some of Modigliani’s sensual nudes were withdrawn on account of alleged indecency. On 20 December 1918, the Paul Guillaume Gallery exhibited several paintings by Modigliani alongside others by Matisse, Picasso and Derain. All other exhibitions of Modigliani’s work have been held since his death. They include those at the Bernheim-Jeune Gallery in Paris (1922); Galerie Bing (Paris, 1925 and 1927); Marcel Benhelm Gallery (Paris, 1931); Palais des Beaux-Arts (Brussels, 1933); Kunsthalle Basel (1934); American-British Art Center (New York, 1944); Galerie de France (Paris, 1945 and 1949); Gimpels Fils Gallery (London, 1947); Cleveland Museum of Art (1951); Museum of Modern Art (New York, 1951); Cantini Museum (Marseilles, 1958); Palazzo Reale (Milan, 1958); Galerie Charpentier (Paris, 1958); Chicago Arts Club (1959); Cincinnati Art Museum (1959); Galleria Nazionale d’Arte Moderna (Rome, 1959); Boston Museum of Fine Arts (1961); Perls Galleries (New York, 1963 and 1966); Kyoto National Museum of Modern Art (1968); Musée Jacquemart-André (Paris, 1970); Musée St-Georges (Liège, 1980); Tokyo Arts Centre (1980); Musée de l’Art Moderne de la Ville de Paris (1970; a comprehensive exhibition of Modigliani’s sculptures...

Dorelia Looking Up, Pencil on Paper Drawing by Augustus John 1878-1961 Additional information: Medium: Pencil on paper 39.4 x 20.3 cm 15 1/2 x 8 in Signed Provenance Arthur Tooth &...

Gino Severini (Cortona 1883 - Paris 1966), Self-Portrait Pencil drawing on paper 25 x 21 cm signed Io G. Severini lower right. Bibliography: Gino Severini before and after the work...

A unique and striking watercolor on paper by surrealist Salvador Dali. This painting depicts Moses in bold red paint with a crown of black points emerging from his head. Provenance: ...

Head Study, 1930 John Sloan (1871-1951) Signed Lower Right 10.5" x 9" Unframed 19" x 16.5" Framed Born in Lock Haven, Pennsylvania, John Sloan became one o...

"Four Years of Frustration, Delays & Missed Appointments (So Cool Cat)" (2022) by street artist City Kitty 18.25 x 12.25 x .75" Ink, acrylic and color pencil on MTA poster, framed. Artist's signature graffiti style of comic relief for subway notice posters, often relating unfortunate news to the public of delays or changes to the regular schedule. Portrait of classic City Kitty character with his third eye and in this case with words written across his open mouth that read in bubble letters, "SO COOL" in pink. Black and white "7" train line Friday night service update poster with purple diamond 7 line train logo. Neon and pastel palette accents include pink and blue. ABOUT THE ARTIST For the past 12 years, NYC-based street artist City Kitty has been pasting elaborate, hand-drawn scenes of an adventurous street cat onto buildings, subway stations and alleyways throughout North America and Europe. Best known for his large-scale drawings of cats...

"Four Years of Frustration, Delays & Missed Appointments (Pirate Cat)" (2019) by street artist City Kitty 18.25 x 12.25 x .75" Ink, acrylic and color pencil on MTA poster, framed. Artist's signature graffiti style of comic relief for subway notice posters, often relating unfortunate news to the public of delays or changes to the regular schedule. Portrait of classic City Kitty character, in this case a pirate, adorned with pirate hat...

"Four Years of Frustration, Delays & Missed Appointments (Radio or Streaming)" (2020) by street artist City Kitty 18.25 x 12.25 x .75" Ink, acrylic and color pencil on MTA poster...

"Four Years of Frustration, Delays & Missed Appointments (Ecstasy)" (2019) by street artist City Kitty 18.25 x 12.25 x .75" Ink, acrylic and color pencil on MTA poster...

"Four Years of Frustration, Delays & Missed Appointments (Bob Ross, cat)" (2019) by street artist City Kitty 18.25 x 12.25 x .75" Ink, acrylic and color pencil on MTA poster...

"Four Years of Frustration, Delays & Missed Appointments (One Earth)" (2022) by street artist City Kitty 18.25 x 12.25 x .75" Ink, acrylic and color pencil on MTA poster...