Paper Portrait Drawings and Watercolors

Linda Stein, Profile Solid 383.045 - Signed Feminist LGBTQ+ Colorful Acrylic and Gouache on Paper Drawing Profile Solid 383.045 is from Linda Stein's Profiles series--drawings, coll...

Linda Stein, Profile Solid 383.049 - Signed Feminist LGBTQ+ Colorful Acrylic and Gouache on Paper Drawing Profile Solid 383.049 is from Linda Stein's Profiles series--drawings, coll...

Linda Stein, Profile Solid 383.056 - Signed Feminist LGBTQ+ Colorful Acrylic and Gouache on Paper Drawing Profile Solid 383.056 is from Linda Stein's Profiles series--drawings, coll...

This original illustration, titled "Cops at Ease in the Muster Room of a Station," accompanied the article Nineteen Thousand Cops published in the July 1939 issue of Fortune Magazine. This issue was dedicated to the city of New York and included a total of ten paintings by Riggs for this article on New York City's police department. Robert Riggs was a gay artist.

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

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

"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...

This evocative charcoal drawing portrays a man with dark, shoulder-length hair, gazing contemplatively to the right. The artist skillfully captures the intensity of the subject’s exp...

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

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

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

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

Watercolor on paper

Watercolor on paper

Ink on paper Signed and dated lower right by the artist

JOSEPH CSAKY 1888-1971 (Hungarian/French) Title: Woman picking Apples Technique: Original Hand Signed Coloured Pencil drawing on Van Gelder Zonen paper size: 42 x 25.2 cm...

Linda Stein, Profile Solid 383.066 - Signed Feminist LGBTQ+ Acrylic and Goauche on Paper Drawing Profile Solid 383.066 is from Linda Stein's Profiles series--drawings, collages an...

Ink on paper Signed and dated lower right by the artist Unique work Framed This work was executed by the Hungarian artist in 1971 while he was staying in Paris. Pablo Picasso said ...

Ink on paper Unique work Double face work Framed This work was executed by the Hungarian artist circa 1970. Pablo Picasso said about Lajos Szalay : "He is the best designer in the ...

Ink on paper Unique work Framed This work was executed by the Hungarian artist circa 1970. Pablo Picasso said about Lajos Szalay : "He is the best designer in the world after mysel...

Ink and graphite on paper Signed, entitled and dated below

Linda Stein, Profile Flying 446.091 - Signed Feminist LGBTQ+ Acrylic Paint on Paper Drawing Profile Flying 446.091 is from Linda Stein's Profiles series--drawings, collages and pai...

Linda Stein, Profile Flying 446.063 - Signed Feminist LGBTQ+ Graphite on Paper Drawing Profile Flying 446.063 is from Linda Stein's Profiles series--drawings, collages and painting...

Linda Stein, Profile Flying 446.001 - Signed Feminist LGBTQ+ Graphite on Paper Drawing Profile Flying 446.001 is from Linda Stein's Profiles series--drawings, collages and painting...

12" x 9" Unframed Original - Watercolour & Inks on Paper Hand Signed by Johnathan Ball

Pastel on paper Image size: 6 x 7 inches (15.25 x 17.75 cm) Mounted Peter Gardner Peter Gardner was born in London in 1921. He studied at the Hammersmith School of Art between 193...

Red chalk on paper Image size: 21 x 14 1/2 inches (54 x 37 cm) Gilt 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...

Pair (Two) of pencil drawings of children playing outside by Charles Serret, 19th century, circa 1870. Both are signed “C. Serret” Each comprising of three or four young different ag...

Medium: Pen and Ink on Cardstock Signature: Signed Lower Right and Upper Left Each illustration is on 8.50" x 11.00" cardstock. Drawings by George Wachsteter (1911-2004) of Arthur M...

Medium: Pen and Ink on Cardstock Signature: Signed Lower Right Drawing by George Wachsteter (1911-2004) of Frances Starr as Headmistress Sara Cantry in the1948 Broadway drama `The Young and Fair` with Julie Harris...

Medium: Pen and Ink on Paper Signature: Signed Lower Right Caricature by George Wachsteter (1911-2004) of Art Carney during his 1957-58 Broadway per...

Pencil on paper Paper size: 13.5 x 10 inches Framed size: 22.25 x 18.5 inches Signed lower middle

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...

This ink drawing is dated 26.1.60.II in ink in the upper image. Picasso created this work on Tuesday 26th January 1960. Provenance: Forum Fine Art, Zurich Private Collection, Switz...

Suzanne Fabry Autoportrait au Petit Col Rond (Self-Portrait with a Small Round Neck), c.1925 Charcoal on paper 22 1/4 x 18 1/4 inches signed SUZANNE FABRY (lower right) Brussels-bor...

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: ...

"Madrid" Abstract Painting Watercolor on Paper 10" x 6" in by Salah Abdel Kerim signed & dated Born in Fayoum to a big family of 5 brothers and sisters. In 1938 he meets the famous painter Hussein Bikar and he becomes his student in the Faculty of Arts in Qena. He remained much attached to his professor all through his life. In 1940 he meets Hussein Youssef Amin and the Group of Contemporary Art at the secondary school of Farouk First in Abasya district in Cairo when he was introduced to surrealism for the first time. In 1943 he becomes a student at the Faculty of Fine Arts and graduates with excellence and honors in 1947. In 1948 he becomes an assistant to the interior decoration section at the FFA. He is then sent to a mission in Paris in 1952 and he becomes a student to Paul Colin and A.Marie Cassandre for publicity and theatre design. He then moves to Rome in 1956 to study cinema design. In 1957 he received the international prize in painting from San Vito Romano, Italy, and obtains his Ph.D. from Centro Sperimental di Cinemato Grafia. Back in Egypt in 1958, he is appointed professor at the FFA where he started experimenting with his masterpieces sculptures in wrote iron...

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...

"Four Years of Frustration, Delays & Missed Appointments (The Count)" (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 (Baby Yoda)" (2022) by street artist City Kitty 18.25 x 12.25 x .75" Ink, acrylic and color pencil ...

Untitled (Young Man Looking Down) Early 2000s Signed, verso Graphite on paper 11 x 8.5 inches This work is offered by ClampArt in New York City.

Mr. Universe Contest Las Vegas, 2002 Signed, verso Ink on paper 36 x 24 inches Contact gallery for price. This work is offered by ClampArt in New York City.

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

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

José Vivenes Untitled, 2006 Oil pastel on paper 32 x 24 inches (81.3 x 61 cm)

José Vivenes Untitled, 2006 Oil pastel on paper 30 x 23 inches (76.2 x 58.4 cm)

José Vivenes Untitled, 2006-7 Oil pastel on paper 30 x 23 inches (76.2 x 58.4 cm)

Man Thinking (Study for a Sculpture) Various notes, u.r. Black ink on paper 10.5 x 8.25 inches (26.7 x 21 cm) This work is offered by ClampArt in New York City.

"Spiritual Self-Portrait" is a portrait of the artist by the artist. She has presented herself nude gazing boldly and directly at the viewer not so much challenging, but inviting dia...

Graphite on paper Signed, l.r. Contact gallery for price This work is offered by ClampArt in New York City.

Signed, l.r. Graphite on paper Contact gallery for price This work is offered by ClampArt in New York City.

Signed and inscribed, l.l. Graphite on paper Contact gallery for price. This work is offered by ClampArt in New York City.

Signed and dated in pencil, l.r. Also signed, dated, and inscribed in pencil, recto Contact gallery for price. This work is offered by ClampArt in New York City.