Unframed Portrait Drawings and Watercolors

Warm Evening with Tea" is a painting permeated with soft light and the aroma of a summer garden. Lush flowers in a vase seem to whisper stories of quiet evenings, and a cup of tea s...

For your consideration, we have a pen and ink drawing of an interpretation of The Three Graces, who strike a pose for a 1930s fashion ad. In Greek mythology, they were goddesses w...

Pioneering English Female Illustrator Helen Stratton masterfully renders in pen and ink a scene from "The Little Mermaid" in George Newnes's 1899 editi...

Human facial expressions help convey our stories from one person to another. However, David Becker presents this charcoal drawing with a flair for confusion. Throughout his career,...

Untitled - Rongmei Naga Tribe India Watercolour on Paper c 1860 Mounted Unframed: 38 x 45 cm Image size: 24.5 x 31 cm Provenance: Private UK Collection This is a fabulous and rare 19th century watercolour from India in a style that is often referred to as Company School Painting...

The Couple is a Pencil, pastel and Watercolour drawing realized by Mino Maccari (1924-1989) in 1980s. Hand-signed on the lower margin. Good condition on a white paper. Mino Maccar...

This work is unique a unique drawing, graphite on colored paper. Work comes with a Certificate of Provenance issued by Christie's, the acting registrar for The Andy Warhol Foundatio...

French School, dated 1907 Portrait of a Young Girl with a White Headscarf Charcoal on laid paper with watermark "CF" in a shield with caduceus (Canson Frères) 45 × 35 cm Signed and d...

Oil on paper About Tom Bennett: With quick brushstrokes, Tom Bennett creates representational images of human figures and animals, emphasizing movement in a manner reminiscent of Lucien Freud, Edgar Degas and the photographer Eadweard Muybridge. Elongated and blurry, the horse racing up a hill (Canter Fritz, 2002) and the sinister cat landing a leap (Chien Blanc, 1998) elicit a sense of foreboding enhanced by Bennett’s somber palette; his female figures too reflect a grim sense of humor with their distorted nude bodies. The face of Untitled Figure (1997), for example, is obscured by layers of dark paint. Classically trained as a painter, he initially worked in oil on canvas but discovered that monotype printing enabled him to “literally push the image around,” creating an essential element of motion. To overcome the limited scale of monotypes, however, he switched to painting on slick-surfaced plastic. Tom Bennett’s practice is rooted in the classical tradition where painting and drawing from life is highly regarded. Bennett’s work is heavily influenced by Francis Bacon, Frank Auberbauch and foremost his father, Harry Bennett, who was also an artist. Tom’s time living abroad in Spain and traveling through Eastern Europe and Africa provided the artistic freedom to explore many of the techniques and subject matter that continue to define his practice. Bennett was born and raised in Connecticut. His mediums include monotypes, oil on paper, canvas or styrene board. In a technique that Tom started over 4 years ago, several of his monotypes have been painted over with oil paint using a palette knife, brush, or his fingers to re-purpose the underlying image. These works are a testament to Bennett’s ability to quickly and concisely compose an image with expressive brush strokes, foreshortened figures and expertly rendered light. Tom’s work has been featured in group and solo exhibitions worldwide. Bennett lives and works in Brooklyn, New York. He is currently represented by Tabla Rasa...

James Stroudley 1906 -1985 Portrait of a Boy Graphite on paper Image size: 18 x 14 inches James 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...

Maurice Chabas (Nantes 1862 – Versailles 1947) Pensive Young Woman Graphite with white-chalk highlights on blue-grey paper 46 × 32 cm Unsigned Provenance Bruno Delarue Gallery, É...

A very finely painted watercolour study of the New Zealand equestrian Blyth Tait. Ready Teddy was an eventing horse competitively ridden by Blyth. Together the pair competed in three...

A Quirky, Humorous 1950s Mid-Century Modern Cartoon Illustration Ink Drawing by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). Depicting a young man diligently working at a ...

Interior Life Drawing - Portrait of a Woman with a Flower II Stylized portrait drawing by unknown artist "Ting" (20th Century). A woman sits in the center of the composition, her fa...

This work is unique. Work comes with a Certificate of Provenance issued by Christie’s. Stamped on the verso by the Estate of the Artist and The Andy Warhol Foundation for the Visua...

Graphite on grayish brown laid paper, 4 1/2 x 8 5/8 inches (107 x 217 mm), the full sheet. In good condition with light toning and a small loss at the lower left corner. There are ad...

Bertha Corbett Melcher's The Sunbonnet Babies, with their flat, minimalist, semi-abstract, and symbolic style, are an early example of American Modernism/Surrealism by a lesser-known female artist/illustrator. The present work demonstrates a delicate balance between abstraction and representation and between the commonplace and the mysterious. Her signature use of a hat or sunbonnet to hide the identity of her subjects is a big conceptual and visual idea that has been overlooked in the fine art canon. The exact meaning of this is unknown, but 120 years after they were done, it resonates as somewhat surrealistic. Her work is a contradiction. She shows innocent children engaging in everyday activity but are depicted in vail of mystery. Why does she not show the faces of her subjects? Watercolor on paper (each) Six drawings in all on one board. 6-1/8 x 5 inches (15.6 x 12.7 cm) (each) One signed; two initialed; three not signed. Six drawing in all on one board. 6-1/8 x 5 inches (15.6 x 12.7 cm) (each) One signed; two initialed; three not signed The Sunbonnet Babies characters were created by illustration Bertha L. Corbett when she was challenged to create a faceless character who nonetheless was engaging and appealing. The characters were a wild hit and appeared in books, comics, and popular collectibles. They also became a popular motif in quilting. Few of Corbett's original drawings for the babies are known to survive, making this a rare offering. From: Wikipedia Sunbonnet Babies are characters created by commercial artist Bertha Corbett Melcher (1872–1950). Sunbonnet Babies featured two girls in pastel colored dresses with their faces covered by sunbonnets. Sunbonnet Babies appeared in books, illustrations and advertisements between the years of 1900 and 1930. Sunbonnet Babies were later used as a popular quilting pattern also known as Sunbonnet Sue.[1] Melcher created a male version of the Sunbonnet Babies, named the 'Overall Boys' in 1905.[2][3] History Bertha L. Corbett Melcher Sunbonnet Babies were created by Bertha Corbett Melcher (1872–1950).[4] Melcher was born in Denver and moved with her family to Minneapolis in the 1880s. Melcher attended art school in Minneapolis with plans to become a commercial artist.[5] She may have also studied with Howard Pyle.[6] By the 1920s, Melcher had moved to Topanga, California.[7][4] Melcher started drawing the Sunbonnet Babies in 1897. The origin of the signature style of the faces being covered by sunbonnets is contested by different members of Melcher's family and by Melcher herself. In an interview, Melcher's brother said their mother suggested Bertha avoid the difficulty of drawing faces by covering them with sunbonnets.[4] Melcher herself said that covering faces allowed her to communicate with body position.[4] Melcher has also said that the design came about in "answer to a friend’s challenge to convey emotion without a face."[2] Melcher published her first book, The Sun-Bonnet Babies in 1900.[3] Later, she shopped her illustrations to publisher Rand McNally of Chicago, and nine subsequent books were written by Eulalie Osgood Grover and illustrated by Bertha Corbett. In 1905, Melcher wrote The Overall Boys.[3] Many of these books were used as primers and used widely in primary schools in the midwest. Melcher used the sunbonnet babies in advertising and later established the Sunbonnet Babies Company. She started a studio to illustrate and create merchandise of the Sunbonnet Babies.[2] The characters also appeared in a comic strip.[2] Quilting Melcher herself did not originate the use of the sunbonnet babies as quilting pattern. The Sunbonnet Babies quilting pattern appeared in textile art 1910's in the Ladies Home Journal 1911–1912 in a quilt stitched by Marie Webster. The pattern was popular during the Great Depression. In the American South, it was often known as "Dutch Doll" until the 1970s.[3] There was also a quilt pattern based on the "Overall Boys," known by the various names including “Overall Bill, “Overall Andy,” “Sunbonnet Sam,” “Suspender Sam,” “Fisherman Jim."[3] Many patterns for quilts and sewing were designed by Ruby Short McKim and published in nationally syndicated newspapers.[8] Sunbonnet Sue became symbolic of 'female innocence and docility'.[9] Linda Pershing collected accounts from women quilters who depicted 'Sues' doing activities such as smoking, wearing more revealing clothing, and subverting feminine stereotypes.[10] In 1979, the “Seamsters Union Local #500," a group of quilters from Lawrence, Kansas, created “The Sun Sets on Sunbonnet Sue," a quilt depicting the character murdered in a variety of ways.[3] Collectibles Sunbonnet Babies merchandise includes school books, valentines cards, postcards, china, and quilts.[2][5][11] Sunbonnet Babies were adapted into three dimensional porcelain collectibles and pottery made by Royal Bayreuth Company in the early 1900s. The Royal Bayreuth China...

Two young Scottish women wear smart business jackets and fashionable tartan skirts. They are depicted as discerning Art Connoisseurs evaluating a small bronze dancer. The Artist Hele...

2, rue Taitbout, Paris Ink and pencil on board 25.5 × 38 cm Signed lower right This original work by Greg Mathias captures the layered intensity of an interior space in Paris. The a...

Gahan Wilson is a conceptual artist before he is a cartoonist, but this concept is invisible to most in the art world. "I Think it's Time I Told You My Little Secret!" pen, ink, and ...

Mario Segundo Perez Argentine, 1960–2018 Nachimiento Ink on Paper Dimensions: 7.5 X 9.75 with frame. sheet is 5 X 7 Does not appear to be signed on front (not examined out of frame. might be signed verso) Provenance: The Estate of Theodore A Bonin (Ted Bonin was a principal in Alexander and Bonin, a New York gallery known for its diverse slate of conceptual artists. He started at Marlborough gallery London in the 60s, then in partnership with Brooke Alexander. In its stable were a host of esteemed artists: Willie Cole, Rita McBride, John Ahearn, Paul Thek, Doris Salcedo, Eugenio Dittborn, Dalton Paula, and Rigoberto Torres, Mona Hatoum and Emily Jacir.) Mario Pérez was born in San Juan, Argentina in 1960. The second of seven children, and the son of a housepainter. He obtained his degree in Visual Arts at Universidad Nacional de San Juan in Argentina. A draughtsman and painter. His style was magic realist or fantastic realism In 2003, Pérez was the recipient of a Pollock Krasner Foundation grant, one of his greatest achievements. He also had the honor of being part of the National Exhibition “200 Years-200 Masters of Argentinean Art”, commemorating the country’s bicentennial. Mario has won international distinctions such as the Cecilia Grierson Award at the Salón Nacional de Pintura in La Plata in 1992; the Marco A. Roca Award at the Salón Pro-Arte, Córdoba, also in 1992; and the first prize in the LXXXVIII Salón Nacional de Pintura in Buenos Aires in 1999. His art often features tiny figures in immense landscapes, and unique backgrounds. It has elements of Conceptual art. His work has been regularly featured in leading auction houses like Christie’s and Sotheby’s in New York, and private and public collections. The magic realism of Mario Segundo Pérez is characteristic of a chiefly Latin-American concept in painting, literature and film that incorporates fantastic or mythical elements into an otherwise realistic scenario. Coined in the 1940s by Cuban novelist Alejo Carpentier, the term often is used when referring to the Colombian novelist Gabriel Garcia Márquez, winner of the 1982 Nobel Prize in Literature. Influences include Frida Kahlo and George Tooker. He was in shows with Ana Fabry and Eduardo Esquivel. Paintings by Pérez are included in numerous private and public collections, including the Ciudad Casa de Gobierno (the Buenos Aires City Hall); the University of Miami School of Architecture, and the College of Communication, Architecture + The Arts (CARTA) at Florida International University. He has been in shows with Juan Cardenas, Anna Mercedes Hoyos, Ignacio Iturria, Alejandro Obregon, Domingo Ravenet, Arnaldo Roche, Edgar Negret, Fidelio Ponce de Leon, Ricardo Martinez, Damian Gonzalez, Jorge Jimenez Deredia, Victor...

Questa tipologia di disegno rientra pienamente nelle "accademie" ovvero degli studi dal vivo su modello (che poteva essere un modello in carne ed ossa oppure un'opera antica)che eran...

"Portrait" 1949's is an original drawing in pencil on paper, realized by Jean Roch Collon (1894-1951) The state of preservation of the artwork is very...

Pen drawing on paper realized by Mino Maccari in the mid-20th Century. Not signed, in very good condition.

Black marker drawing realized by Francisco Borès (1898-1972) in the mid-20th Century. Not signed. Very good condition.

Bedrich Fritta (1906-1944). Portrait of a Young Woman in Profile, ca. 1930. Pencil on irregular paper sheet measuring 6 x 6.75 inches. Mounted on thin backing measuring 9 x 12 in...

This pastel portrait captures the side profile of a young African American man dressed in a black hoodie. The artist skillfully employs the pastel medium to bring out the rich textur...

Veil Homme 1947 drawing 26,9 x 21 x 0,1 cm Registered on the catalogue raisonné with inventory number : N°0252 cat. B sold without frame about Jean Hélion (April 21, 1904 – October ...

The Black Panther Trials - In this historically significant work, African American Artist Vicent D. Smith functions as an Art Journalist/ Court Reporter as much as a Artist. Here, he depicts, in complete unity, 21 Black Panther Protestors raising their fist of defiance at the White Judge. Smith's composition is about utter simplicity, where the Black Panther Protestors are symmetrically lined up in a confrontation with a Judge whose size is exaggerated in scale. Set against a stylized American Flag, the supercilious Judge gazes down as the protesters as their fists thrust up. Signed Vincent lower right. Titled Panter 21. Original metal frame. Tape on upper left edge of frame. 255 . Panther 21. Framed under plexi. _____________________________ From Wikipedia In 1969-1971 there was a series of criminal prosecutions in New Haven, Connecticut, against various members and associates of the Black Panther Party.[1] The charges ranged from criminal conspiracy to first-degree murder. All charges stemmed from the murder of 19-year-old Alex Rackley in the early hours of May 21, 1969. The trials became a rallying-point for the American Left, and marked a decline in public support, even among the black community, for the Black Panther Party On May 17, 1969, members of the Black Panther Party kidnapped fellow Panther Alex Rackley, who had fallen under suspicion of informing for the FBI. He was held captive at the New Haven Panther headquarters on Orchard Street, where he was tortured and interrogated until he confessed. His interrogation was tape recorded by the Panthers.[2] During that time, national party chairman Bobby Seale visited New Haven and spoke on the campus of Yale University for the Yale Black Ensemble Theater Company.[3] The prosecution alleged, but Seale denied, that after his speech, Seale briefly stopped by the headquarters where Rackley was being held captive and ordered that Rackley be executed. Early in the morning of May 21, three Panthers – Warren Kimbro, Lonnie McLucas, and George Sams, one of the Panthers who had come East from California to investigate the police infiltration of the New York Panther chapter, drove Rackley to the nearby town of Middlefield, Connecticut. Kimbro shot Rackley once in the head and McLucas shot him once in the chest. They dumped his corpse in a swamp, where it was discovered the next day. New Haven police immediately arrested eight New Haven area Black Panthers. Sams and two other Panthers from California were captured later. Sams and Kimbro confessed to the murder, and agreed to testify against McLucas in exchange for a reduction in sentence. Sams also implicated Seale in the killing, telling his interrogators that while visiting the Panther headquarters on the night of his speech, Seale had directly ordered him to murder Rackley. In all, nine defendants were indicted on charges related to the case. In the heated political rhetoric of the day, these defendants were referred to as the "New Haven Nine", a deliberate allusion to other cause-celebre defendants like the "Chicago Seven". The first trial was that of Lonnie McLucas, the only person who physically took part in the killing who refused to plead guilty. In fact, McLucas had confessed to shooting Rackley, but nonetheless chose to go to trial. Jury selection began in May 1970. The case and trial were already a national cause célèbre among critics of the Nixon administration, and especially among those hostile to the actions of the FBI. Under the Bureau's then-secret "Counter-Intelligence Program" (COINTELPRO), FBI director J. Edgar Hoover had ordered his agents to disrupt, discredit, or otherwise neutralize radical groups like the Panthers. Hostility between groups organizing political dissent and the Bureau was, by the time of the trials, at a fever pitch. Hostility from the left was also directed at the two Panthers cooperating with the prosecutors. Sams in particular was accused of being an informant, and lying to implicate Seale for personal benefit. In the days leading up to a rally on May Day 1970, thousands of supporters of the Panthers arrived in New Haven individually and in organized groups. They were housed and fed by community organizations and by sympathetic Yale students in their dormitory rooms. The Yale college dining halls provided basic meals for everyone. Protesters met daily en masse on the New Haven Green across the street from the Courthouse (and one hundred yards from Yale's main gate). On May Day there was a rally on the Green, featuring speakers including Jean Genet, Abbie Hoffman, Jerry Rubin, and John Froines (an assistant professor of chemistry at the University of Oregon). Teach-ins and other events were also held in the colleges themselves. Towards midnight on May 1, two bombs exploded in Yale's Ingalls Rink, where a concert was being held in conjunction with the protests.[4] Although the rink was damaged, no one was injured, and no culprit was identified.[4] Yale chaplain William Sloane Coffin stated, "All of us conspired to bring on this tragedy by law enforcement agencies by their illegal acts against the Panthers, and the rest of us by our immoral silence in front of these acts," while Yale President Kingman Brewster Jr. issued the statement, "I personally want to say that I'm appalled and ashamed that things should have come to such a pass that I am skeptical of the ability of a Black revolutionary to receive a fair trial anywhere in the U.S." Brewster's generally sympathetic tone enraged many of the university's older, more conservative alumni, heightening tensions within the school community. As tensions mounted, Yale officials sought to avoid deeper unrest and to deflect the real possibility of riots or violent student demonstrations. Sam Chauncey has been credited with winning tactical management on behalf of the administration to quell anxiety among law enforcement and New Haven's citizens, while Kurt Schmoke, a future Rhodes Scholar, mayor of Baltimore, MD and Dean of Howard University School of Law, has received kudos as undergraduate spokesman to the faculty during some of the protest's tensest moments. Ralph Dawson, a classmate of Schmoke's, figured prominently as moderator of the Black Student Alliance at Yale (BSAY). In the end, compromises between the administration and the students - and, primarily, urgent calls for nonviolence from Bobby Seale and the Black Panthers themselves - quashed the possibility of violence. While Yale (and many other colleges) went "on strike" from May Day until the end of the term, like most schools it was not actually "shut down". Classes were made "voluntarily optional" for the time and students were graded "Pass/Fail" for the work done up to then. Trial of McLucas Black Panther trial sketch...

Watercolor drawing realized by Mino Maccari in 1960s. Hand signed in pencil lower right. Matted, in very good condition.

"Guardian of the Mosque" Drawing 14" x 10" inch by MOUNIR CANAAN Signed and dated. ABOUT: Mounir Canaan (1919 – 1999) was a powerful artist whose body of work & style was always...

Manfred Schwartz (American, b. Poland, 1909-1970), Portrait of a Woman, Charcoal on Paper, with the artist's signature stamped lower right, unframed. 24.25" H x 19" W. Provenance: Fr...

Portrait. 1966. watercolor on paper, 35.5x30 cm Dzidra Ezergaile (1926-2013) Born in Riga. School years alternate with summer work in the countryside...

This striking charcoal portrait captures the essence of an African American woman with a unique black and white afro. The monochromatic medium emphasize...

Watercolor on paper realized by Maccari in 1958. Hand signed and dated. Very good condition.

Portrait of the Artist Ricardo de Silva in Pastel Beautifully rendered pastel portrait of a man, like Ricardo de Silva. The mans face is drawn with rich, warm brown tones. His cheek...

Firmado en la parte inferior por el artista Se presenta sin enmarcar la obra Medidas obra: 59 cm. de altura x 50 cm. de ancho Buen estado de conservación el de la obra ::::::::::...

Marius de Zayas was born in Veracruz, Mexico and emigrated to New York with his family in 1907. He joined the art staff of the New York Evening World newspaper and quickly became kno...

Annie French was part of the Glasgow Girls group of artists and illustrators who worked in a delicate, feminine, and detailed Art Nouveau and Pre-Raphaelite style. This work, "Flora," is masterfully rendered and decorated with sumptuous floral patterns in the most detailed way. It is signed twice in the upper right quadrant. The mat has a hand-painted decorative border. The work presents better in person, and the viewer can marvel at the minute detail. The Video is overexposed and light and not representative of color. Use still...

Untitled naturalistic portrait of BBK. The work is signed by the artist in the bottom corner and the work is not currently framed. Artist Biography: Eyes are a recurring motif in the work of American artist Stanley Clark...

America Martin "Flowers in Hair" Ink on Paper 24.5” x 22.5” (unframed) AMERICA MARTIN is an internationally represented Colombian-American fine artist based in Los Angeles. America...

Pencil drawing and watercolor realized by Mino Maccari in the mid-20th Century. Not signed. Very good condition.

Charcoal drawing realized by Mino Maccari in 1946 ca. Hand signed lower right. Very good condition.

This small drawing (pencil on paper, 25 x 19.5 cm) depicts a friar (who from the style of his tonsure and tunic would appear to be a Franciscan) on the left, seated in the act of rea...

"Blue Apollo" Original work on colored paper, with blue ultramarine tempera on red colored paper, inspired by Matisse. Size is 27x19.5in / 70x50cm...

Self Portrait is a drawing in Tempera and oil on paper, realized by Max Wulfart (1876- 1955) Hand-signed on the lower right. Good conditions except for some stains and a rip on the...

The world’s most miserable man is served up bad news. Depressed and down on his luck, he receives news of only a brief respite to crawl out of his inky black abyss of misery. The ca...

Ama Liyanage, a contemporary artist and printmaker, creates whimsical paintings from her home studio in Ontario, Canada. Each piece holds minuscule painted details waiting to be disc...

Winold Reiss (1886-1953), who scholars increasingly recognize as a pivotal figure in early 20th-century American art, is known for his evocative portraits that capture the spirit and...

Eugène Devéria (1805-1865) Two Children in a tondo Portrait in an oval, study for a portrait Black pencil on paper 23 x 19 cm Stamp of the workshop o...

A Charming, 1940s American Scene study of a Man Seated at a Table by Notable Chicago Modern Artist, Harold Haydon (Am. 1909-1994). A delightful sketch ("Dinner at the Windermere Hot...

African Mama - Vintage Illustration in Ink and Watercolor A charming illustration, by Irene Pattinson (American, 1909-1999), shows a woman with a...

Charcoal on paper Unique work Hand-signed by the artist

Charcoal on paper Unique work Hand-signed by the artist on the back THE IMAGINARY LAND OF ZAHRA ZEINALI “Over time Zahra Zeinali develops her universe, which evolves slowly accordi...

Richard MacDonald is an artist of unusual depth and complexity. Sculpture has become his primary means of expression, yet this ability was built upon the foundation of a rigorous tra...

Black chalk, white smudge and highlights, on paper Image size: 10 3/4 x 5 3/4 inches (27.25 x 14.5 cm) A half-length portrait of a young Duke wearing a long wig...

The technique and subject matter work well together in this loosely but masterfully rendered World War 1 romantic illustration of a Soldier and a Parisian woman. Even though this wo...

The smoke cloud is a modern artwork realized by Gabriele Galantara (1865-1937) in 1908. Watercolor, tempera, ink and pencil on paper. Hand signed on the right margin. Good conditio...

Painted in the style of Frederick Appleyard. Initialed lower left, 'FR.A' and created circa 1925. Bearing signature, verso. An elegant and psychologically-penetrating pastel study o...

Figure is an original drawing in red pencil on paper realized by an Anonymous artist active in the 1900 century. Sheet dimension: 11.5 x 7.5 cm. The state of preservation is good e...