Unknown

Portrait of a man in profile

Fishermen. Early 20th century drawing in grease pencil. Paper laminated on hard cardboard. Small scratches and minor dirt. 31 x 24 cm

Eugène ISABEY (1804-1886) Watercolor, framed and under glass. Annotated lower right "painted by Isabey in 1840 in front of me". Good condition. Watercolor (on view): 12.5 x 19 cm...

Sacrifice. 19th century watercolor. Very small scratches. Watercolor not fixed in the frame. Small lacks of stucco and gilding and som...

Chai. Watercolor early twentieth. Signature and date to decipher lower right. Annotation on the back. Small stains and wear. 24 x 31.5 cm

A portrait of a male head, in profile by BenFenske. The artist uses a variety of colors to convey a naturalist impression. Artist Bio Ben Fenske (b. 1978) although a native of Minn...

A colorful sketch of a female bust, in the style of contemporary academic realism. Artist Bio Ben Fenske (b. 1978) although a native of Minnesota, a...

French school of the 18th century Three pencils (pencil, red chalk, white chalk) on paper 27 x 18 cm (45 x 34 cm with frame) Inscription at bottom “Saint-Aubin de l’Académie de musique” Dated "1785" Augustin d'Herbez known as "Saint-Aubin" was a tenor and member of the Royal Academy of Music...

The work represents a carefully rendered and meticulously observed environmental portrait of a young girl absorbed in study in front of a book case. It celebrates the intelligence of womanhood from a woman's perspective. Initialed in cartouche lower right literature: "The Silver Pencil", Hardy, Harper's Monthly, June 1912, pg. 22 Elizabeth Shippen Green (September 1, 1871 – May 29, 1954) was an American illustrator. She illustrated children's books and worked for publications such as The Ladies' Home Journal, The Saturday Evening Post and Harper's Magazine. Education Green enrolled at the Pennsylvania Academy of the Fine Arts in 1887 and studied with the painters Thomas Pollock Anshutz, Thomas Eakins, and Robert Vonnoh.[2] She then began study with Howard Pyle at Drexel Institute where she met Violet Oakley and Jessie Willcox Smith. New Woman As educational opportunities were made more available in the 19th century, women artists became part of professional enterprises, including founding their own art associations. Artwork made by women was considered to be inferior, and to help overcome that stereotype women became “increasingly vocal and confident” in promoting women's work, and thus became part of the emerging image of the educated, modern and freer “New Woman”.[4] Artists "played crucial roles in representing the New Woman...