Cardboard Portrait Drawings and Watercolors

Pastel and oil paint on cardboard Created in 2018 in Paris, France Unique work Signed and dated by the artist on the back Parmis Sayous was born in 1982 in Teheran, Iran. Since 2015...

Pastel and acrylic ink on cardboard Created in 2019 in Paris, France Unique work Signed and dated by the artist on the back Parmis Sayous was born in 1982 in Teheran, Iran. Since 20...

A lovely gouache on cardboard painting featuring an Art Deco singer with a typical stylish outfit. The composition is very vibrant, using the contrast of black and white elements ag...

Alexander Befelein "San Diego" 2021 Watercolor, ink, and pencil on paper 8 ¼ x 4 ¾ Inches Signed, titled, and dated in pencil in the lower margin

"Bob Dylan - Legends" 2019 Watercolor, pencil, and ink on matted cardboard 5.75 x 4 Inches Matte: 13 x 10.5 Inches Signed and dated by the artist in pencil, lower margin

Portrait of a Man with White Hair and Mustache in Pastel on Cardstock Portrait of a man by Honora Berg (American, 1897-1985). The man is looking directly at the viewer, with a neutral expression. He has white hair and a mustache, and is wearing a brown suit with a red tie. Signed "Honora Berg" in the bottom right corner. Stamp from Miller Fine Art on verso Acquired with a collection of the artist's work. Initialed and numbered "HB 117" on verso Unframed. Board size: 20"H x 15"W Honora Berg (American, 1897-1985) was an Abstract Expressionist and Bay Area Figurative School artist who studied at the San Francisco Art Institute with David Park, Elmer Bischoff and James Budd Dixon. Berg's friend Edith Truesdell — David Park's aunt — suggested a move to California in 1951 to study under Park. She exhibited at the 25th Annual Drawing, Print and Sculpture Exhibition at the San Francisco Museum of Modern Art, 1961. Provenance, Estate of Honora Berg - David Carlson Gallery, Larry Miller...

On the cardboard applied on the frame there is an annotation, belonging to some of the old owners, reporting the names of the portrayed in Kurrent handwriting: "Urgroßvater Ludwig Fr(ei)h(e)r(r) von Keller" "Urgroßmutter Fr(ei)h(e)r(rin) von Keller geb(oren) von Niebecker". So we can deduce that the models were Ludwig Friedrich Heinrich Ferdinand Baron of Keller (1760-1835), a German politician who was the director of the district of Prussia, and his wife Auguste Johanne Henriette Baroness of Niebecker (1760-1832). Their high class provenience is highlighted by the not contained expressive liveliness, by the proud pose imitating movement and by the elegance of the clothes which fabric seems palpable (especially sincere is the evanescent depiction of the pleated veil of the gorget and the adorned with arabesques decoration of the sleeves and the vest). The two pieces can be attributed to John Singleton Copley...

This drawing by Léon Bonnat, the greatest portrait painter of the Third Republic, shows a woman of indeterminate age, caught in a melancholic pose. 1. Léo...

The drawing is an “Academic study”, as we can notice by the deep attention given to lights and shadows (emphasized by the use of both black and white chalk) and by the plastic pose o...

Magdalena Peszkowska born in 1980 in Gdańsk, Poland. Studied in Department of Painting at Academy of Fine Arts in Gdańsk (1999-2004). Diploma with special recognition in painting in 2004. The cycle of ‘Final Fantasy...

Portrait is an original pencil, pastel and watercolor drawing on creamy cardboard, realized in 1927 by Maurice Lourday (1860-1934). Titled on the lower. In very good conditions, ex...

A drawing by Fernando Botero. "Dibujo a la Manera de Velasquez" is a portrait, charcoal and pastel on cardboard in an earth-tone palette by Latin American artist Fernando Botero. It is signed upper right, "Sobre Velazquez Botero -1-27-60 Para Rita. el recuerdo de uno payaso". Fernando Botero, best known for his voluptuously rotund human figures, was born in Medellín, Colombia on April 19, 1932. His father died when he was young, and he was raised by his mother, along with his two brothers. He attended a Jesuit school in Medellín and from the age of 12 to 14, he attended a matador training school. The bull fight became a recurring theme in Botero’s early work and while he was in his early teens, he sold his pictures of bull fights in front of the arena. By the time he was 16 years of age, Botero was working as an illustrator for the local magazine El Colombiano. He also began writing articles about art theory, one of which, entitled Picasso and Non-Conformity in Art, led to his expulsion from the Jesuit school for its endorsement of Cubism. One of Botero’s important early works, Woman Crying...

A beautiful 1985 pencil drawing of actress Joan Collins by American artist Louis Nadalini (Italian, 1927-1995). Signed and dated "Nadalini 85" lower right. Unframed. Image, 20"H x 16"L. ARTFORUM article: Louis Nadalini In the last couple of seasons, San Francisco has lost several of its galleries. Some others have just recently begun operating but often with an entirely new group of artists. Some members of those apparently secure gallery stables that went out of business have found their way into other stables, but a larger group is without a place to show. I decided to look into such a person’s studio in my endeavor to find out what is really happening in the Bay Area art world. I went to see Louis Nadalini. His latest painting continues with the lattice of slats protruding forward with two variations of the painting painted on the sides of the slats which are viewable when standing to either side. This was always a very abstract method and he had quite often painted pure abstractions which centered quietly into hypnotic devices of exceptional color richness, but which gave a kaleidoscopic change as you moved past it. Untitled #42 (the most recent painting) has subject matter and was done in a much more painterly way. The side variations were flat in color, and there were some elements seen only in the side views, a skeleton’s arm and a black hand, for example. Nadalini says that he may abandon the lattice altogether if it gets in his way, but so far it seems to work better than it did with the abstractions. He is enthusiastic about the work he is doing, felt very free about making changes, and was, at the same time still happy about work from several years ago and unwilling to think that older work and new work should not be exhibited together. He hasn’t been thinking about galleries for a while. Nadalini goes to sea periodically which gives him time for contemplation as well as for renewing his resources. by —Knute Stiles...

JOSÉ GALLEGOS Y ARNOSA Spanish, 1857 - 1917 THE PRAYER signed & dedicated "J. Gallegos, A MI AMIGO PASSARGE” (lower left) watercolor on cardboar...

Pastel and India ink on cardboard Created in 2018 in Paris, France Unique work Signed by the artist Parmis Sayous was born in 1982 in Teheran, Iran. Since 2015, She has lived and wo...

Pastel and India ink on cardboard 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 wo...

Pastel and India ink on cardboard 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 wo...

Pastel and India ink on cardboard 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 wo...

Portrait is an original drawing in mixed media, ink, pastel and watercolor on cardboard, realized by Gabriele Galantara in 1905 ca. The state of preservation of the artwork is very ...

Pastel and India ink on cardboard 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 wo...

Pastel and India ink on cardboard 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 wo...

Pastel and India ink on cardboard 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 wo...

Pastel and India ink on cardboard Created in 2018 in Paris, France Unique work Signed by the artist Parmis Sayous was born in 1982 in Teheran, Iran. Since 2015, She has lived and wo...

Pastel and oil paint on paper Created in 2018 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...

"Stay Go Stay Go" is an original oil pastel drawing mounted to cardboard by Reginald K. Gee. The artist signed the piece on the back. It depicts two wide-eyed faces blending into a j...

This recently rediscovered expressionist drawing by László Moholy-Nagy is part of a small group of drawings made by the artist early in his career, in Vienna and Berlin. The use of interlaced curves, typical of the artist's technique, gives this hieratic portrait a magnetic radiance, while the absence of any connection with the rest of the body evokes a profane Holy Face. 1. From Hungary to Chicago, the ardent life of László Moholy-Nagy Moholy-Nagy was born in Borsod, now known as Bácsborsód in Southern Hungary, in July 1895. He studied law in Budapest in 1913, when he was drafted into the Austro-Hungarian army to serve as an artillery officer on the Italian and Russian fronts. While serving at artillery observation posts, Moholy-Nagy was able to execute numerous drawings, recording his traumatic war experience, on the reverse of military-issued postcards which he could easily carry with him. In 1917, he was seriously wounded and hospitalized. The following year (around 1918 at the age of 23), he abandoned his plans to become a lawyer in favour of a career as an artist, with the encouragement of his friend, the art critic Iván Hevesy. The drawings executed in those early years reveal Moholy-Nagy's powerful Expressionist lines. In his autobiography of 1944, Abstract of an Artist, Moholy-Nagy explained his early figurative style, writing that contemporary art in those days was too chaotic and that and all the '-isms' were incomprehensible and puzzling to him. He was, however, experimenting with Dadaist compositions already in 1919 and then moved to Vienna and later to Berlin, where he would soon make his first works in his Constructivist style of the early 1920s. In Berlin he met photograph and writer Lucia Schultz who became his wife the next year. In 1922 he met Walter Gropius. During a vacation on the Rhome with Lucia, she introduced him to making photograms on light-sensitized paper. Walter Gropius invited him to teach at the Bauhaus in Weimar in 1923 where he replaced Paul Klee as Head of the Metal Workshop. The Bauhaus became known for the versatility of its artists and Moholy-Nagy was no exception: throughout his career, he became proficient in the fiels of photography, typography, sculpture, painting, printmaking, film-making and industrial design. In 1928 Moholy-Nagy left the Bauhaus and established his own design studio in Berlin. He separated from his first wide Lucia in 1929. In 1931 he met actress and scriptwriter Sibylle Pietzsch. They married in 1932 and has two daughters, Hattula (born 1933) and Claudia. After the Nazis came to power in Germany in 1933, he was no longer allowed to work there. He moved his family to London in 1935. In 1937, on the recommendation of Walter Gropius, Moholy-Nagy moved to Chicago to become the director of the New Bauhaus, but the school closed in 1938. Moholy-Nagy resumed doing commercial design work, which he continued for the rest of his life. In 1939 Moholy-Nagy opened the School of Design in Chicago, which became in 1944 the Institute of Design, becoming part of the Illinois Institute of Technology in 1949. Diagnosed with leukemia in 1945, Moholy-Nagy died of the disease in Chicago in 1946. 2. Description of the artwork This drawing presents us with a frontal representation of a man in his thirties, whose penetrating gaze seems to stare at us. The face is highly symmetrical and is modelled by curved black lines. The very high forehead and the slightly dilated left pupil reinforce the very expressive character of the face. Like the Holy Face which appeared on the cloth stretched out to wipe Christ's face by Saint Veronica, only the model's face is represented on the cardboard piece. The curved lines that define the face, hollowing out the temples, the eyelids, the cheeks and the area around the mouth, create a kind of magnetic radiation around a median point located between the eyebrows. In some respects, this face may evoke one of the most famous representations of the Holy Face: the extraordinary engraving by Claude Mellan...