Pavel Tchelitchew

Portrait of Bachoo Dinshaw, Countess Woronzow

1946

Roy Carruthers is a brilliant mix of George Tooker and Fernando Botero but with unexpected charm. "The Suitor with Voyeur", A variation of this concept was done in oil twenty years later. "The Venus of Ponte Vedra...

Powerful pencil study of Bachoo, Countess Woronzow. Tchelitchew exaggerates the sitters features with abnormally large eyes for dramatic effect, Bachoo (Countess Bachoobai Woronzow-D...

The postman's delivery of a limp cactus creates a big emotional response the female recipient. Most likely an interior illustration for a newsstand magazine. Signed lower right Sus...

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...

An early example from pioneering Female Cartoonist/ Illustrator Edwina Dumm, who draws a comic strip from her long-running cartoon series Tippie which lasted for almost five decades. Signed and dated Edwina, 9-25, matted but unframed. Frances Edwina Dumm (1893 – April 28, 1990) was a writer-artist who drew the comic strip Cap Stubbs and Tippie for nearly five decades; she is also notable as America's first full-time female editorial cartoonist. She used her middle name for the signature on her comic strip, signed simply Edwina. Biography One of the earliest female syndicated cartoonists, Dumm was born in Upper Sandusky, Ohio, and lived in Marion and Washington Courthouse, Ohio throughout her youth before the family settled down in Columbus.[1] Her mother was Anna Gilmore Dennis, and her father, Frank Edwin Dumm, was an actor-playwright turned newspaperman. Dumm's paternal grandfather, Robert D. Dumm, owned a newspaper in Upper Sandusky which Frank Dumm later inherited. Her brother, Robert Dennis Dumm, was a reporter for the Columbus Dispatch, and art editor for Cole Publishing Company's Farm & Fireside magazine. In 1911, she graduated from Central High School in Columbus, Ohio, and then took the Cleveland-based Landon School of Illustration and Cartooning correspondence course. Her name was later featured in Landon's advertisements. While enrolled in the correspondence course, she also took a business course and worked as a stenographer at the Columbus Board of Education. In 1915, Dumm was hired by the short-lived Republican newspaper, the Columbus Monitor, to be a full-time cartoonist.[2] Her first cartoon was published on August 7, 1915, in the debut issue of the paper. During her years at the Monitor she provided a variety of features including a comic strip called The Meanderings of Minnie about a young tomboy girl and her dog, Lillie Jane, and a full-page editorial cartoon feature, Spot-Light Sketches[3]. She drew editorial cartoons for the Monitor from its first edition (August 7, 1915) until the paper folded (July 1917). In the Monitor, her Spot-Light Sketches was a full-page feature of editorial cartoons, and some of these promoted women's issues. Elisabeth Israels Perry, in the introduction to Alice Sheppard's Cartooning for Suffrage (1994), wrote that artists such as Blanche Ames Ames, Lou Rogers and Edwina Dumm produced: ...a visual rhetoric that helped create a climate more favorable to change in America's gender relations... By the close of the suffrage campaign, women's art reflected the new values of feminism, broadened its targets, and attempted to restate the significance of the movement.[4] After the Monitor folded, Dumm moved to New York City, where she continued her art studies at the Art Students League. She was hired by the George Matthew Adams Service[5] to create Cap Stubbs and Tippie, a family strip following the lives of a boy Cap, his dog Tippie, their family, and neighbors. Cap's grandmother, Sara Bailey, is prominently featured, and may have been based on Dumm's own grandmother, Sarah Jane Henderson, who lived with their family. The strip was strongly influenced by Mark Twain’s Adventures of Huckleberry Finn, as well as Dumm’s favorite comic, Buster Brown by Richard F. Outcault. Dumm worked very fast; according to comics historian Martin Sheridan, she could pencil a daily strip in an hour.[6] Her love of dogs is evident in her strips as well as her illustrations for books and magazines, such as Sinbad, her weekly dog page which ran in both Life and the London Tatler. She illustrated Alexander Woollcott's Two Gentlemen and a Lady. For Sonnets from the Pekinese and Other Doggerel (Macmillan, 1936) by Burges Johnson (1877–1963), she illustrated "Losted" and other poems. From the 1931 through the 1960s, she drew another dog for the newspaper feature Alec the Great, in which she illustrated verses written by her brother, Robert Dennis Dumm. Their collaboration was published as a book in 1946. In the late 1940s, she drew the covers for sheet music by her friend and neighbor, Helen Thomas, who did both music and lyrics. During the 1940s, she also contributed Tippie features to various comic books including All-American Comics and Dell Comics. In 1950, Dumm, Hilda Terry, and Barbara Shermund...

Early in the artist's career most likely for Vogue Magazine. Signed lower left. Helen Dryden (1882–1972) was an American artist and successful industrial designer in the 1920s and 1...

Unsigned Graphite on paper

This framed 15.5" x 13.25" mixed media female portrait by artist Jeffrey Kronsnoble features the black and white profile of a women with a circular ...

Original drawing on archival paper, circa 1964. Paper Size: 14 x 11 inches. Provenance: Estate of Ian Hornak, East Hampton, New York. Notes: Created during Hornak’s undergraduate st...

Original drawing on archival paper, circa 1963. Paper Size: 18 x 23 inches. Provenance: Estate of Ian Hornak, East Hampton, New York. Notes: Created during Hornak’s undergraduate st...

A powerful depiction of a regal, queenly woman wearing a gold crown and ornate blue/gray dress. Signed, dated and titled on verso. Francine Fox works in many mediums including oil paint, watercolor, gouache, graphite and ink to produce striking and unsettling works of great beauty and psychological complexity. Fox incorporates art historical references, organically composed diagrams and personal and cultural vocabularies into her work. "I strive to produce work that is at once both striking and unsettling and intend the compilation of my formal and conceptual elements to parallel and reveal the intricacies of gray areas between seemingly dissonant traits. The gray areas I depict most frequently can be classified as the shared liminal compartments in Venn Diagrams, the middle sections along continuums or circumstances when the correct answer is both yes and no. While it is easier to think and understand in terms of binaries, these types of thought processes tend to oversimplify. The murky places in between are often harder to comprehend, and yet they are also more relatable and interesting because of their complex, confusing, and sometimes unresolved nature. My goal is not to clarify gray areas; rather, I hope to lure viewers into contemplation of the causes of the wonder and discomfort surrounding liminals. My work frequently returns to the gray areas between the themes of physical and metaphysical, evidence and faith, chaos and order, and identity philosophies rooted in either individualism or collectivism. My paintings and drawings create records of the perceived significance and beauty of these transitional spaces through the mediums of graphite, charcoal, watercolor, gouache, oil paint and digital painting. Within my body of work, the imagery includes figures, gently anthropomorphized animals, traditional and contemporary semiotics, and depictions of invisible forces through modified and invented charting symbols. My influences range from Walton Ford, Martin Wittfooth...

The female figure in Oliver Benson's "Lady of the Temple" is drawn in exquisite detail. This fine drawing is floated on a mat board and framed in a silver frame measuring 11h x 8.25...