Naturalistic Portrait Drawings and Watercolors

Seymour Rosenthal (American 1921-2007) "Untitled: Rabbi Scholar", Figurative Pen/Watercolor on Paper signed in bottom right hand corner, 10.50 x 8 (24 x 20.50 In Frame), Late 20th Ce...

Juventus 1995-96 - The Embrace of Victory Artist: Marco Silombria (Savona, 1936 - Albissola, 2017) Medium: Charcoal on paper Dimensions: 101 x 72 cm Signed: Lower right, "Si...

Contemporary drawing work that combines the use of colored pencils and ink on a layer made with natural dyes from leaves and flowers. It is a surreal and fantastic drawing that seeks...

Pen and brownish black ink on grayish-cream laid paper, 6 1/2 x 8 inches (165 x 175 mm), irregular hexagonal sheet with margins. Some archival repairs along the top sheet edge, scatt...

Artist Unknown "Tie and Glasses" c. 1940s Charcoal and pencil on paper 13.5"x17" site 19"x23" rustic wood frame Unsigned

Gorgeous pair of two 1920's watercolor portraits of Gibson girls, one in blue and one in pink, by Charles Hollman (Dutch, 1877-1953). Each portrait renders...

Working with a palette of graphite, charcoal, ink, and gold leaf, Alessandra Maria masterfully weaves together elements of the earthly and ethereal. She is part sorceress, part alche...

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...

Lubin de Beauvais (1873-1917) L'anse de Launay, a woman at the beach, 1911 signed, dated and titled "Anse de Launay, Loguivy Ploubazlanec, Bretagne,...

Ricard Opisso - Beggars - Colored pencils Measurements drawing 21x31cm. Frame measures 39x48 cm. Damaged paper at bottom. Anti-reflective glass. Son of Alfredo Opisso y Viñas, journalist, historian and critic, and of Antonia Sala y Gil, his sister Regina Opisso, was also a writer. He comes from an enlightened family full of artists. His paternal grandfather was Josep Opisso y Roig, journalist and director of the Diari de Tarragona, father of the also writers Antonia Opisso y Viña and Antoni Opisso y Viña. His maternal great-grandfather was the painter Pere Pau Montaña, his maternal grandfather the fabulist Felipe Jacinto Sala and his maternal uncle, the painter Emilio Sala y Francés. His nephew was Arturo Llorens y Opisso, a writer better known under his pseudonym Arturo Llopis. Although he was born in Tarragona, his family moved to Barcelona when Opisso was only two years old. In modernist Barcelona at the end of the 19th century, Opisso worked as an assistant to Antonio Gaudí in the works of the Sagrada Familia in Barcelona since 1892. He was linked to the group Els Quatre Gats, along with Ramón Casas...

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...

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...