Modern Drawings and Watercolor Paintings

John Rattenbury Skeaping. English ( b.1901 - d.1990 ). On The Gallops, 1976. Gouache & Watercolor. Signed & Dated Lower Right. Image size 18.5 inches x 26.8 inches ( 47cm x 68cm )....

Drawing is a pencil drawing realized by Mino Maccari  (1924-1989) in the Mid-20th Century. Hand-signed. Good conditions with slight foxing. Mino Maccari (Siena, 1924-Rome, June 16...

French Expressionist by Guy Nicod (French 1923 - 2021) watercolour on artist paper, unframed painting : 12.5 x 9.5 inches provenance: artists estate, France condition: very good and ...

In this delicate composition, the ethereal elegance of ballet is conveyed through the image of pointe shoes against a soft pink background. Pointe shoes, symbols of grace and dedica...

Figure is an original Drawing on paper realized by painter Pierre Georges Jeanniot (1848-1934). Drawing in Pencil. Hand-signed on the lower. Good conditions except for aged margin...

Nude is an original drawing in pencil realized by an anonymous artist in the early 20th Century. Good conditions except for some foxings. The artwork is depicted through strong str...

Horse is a modern artwork realized by Antonio Vangelli. Black marker drawing on paper. Hand signed on the upper margin. Includes frame.

Charles Demuth was one of the most complex, talented, and deeply sensitive artists of the American modern period. Whether he was painting floral still lifes, industrial landscapes, or Turkish bathhouses, art was, for Demuth, fraught with personal meaning. A fixture of the vanguard art scene in New York, Demuth navigated the currents of Modernism, producing some of the most exquisite watercolors and original oil paintings in twentieth-century American art. Demuth was born in Lancaster, Pennsylvania, the only child of a well-to-do family. He had an awkward and introverted childhood shaped by a childhood illness, Perthes, a disease of the hip that not only left him permanently lame, but, as part of the “cure,” bedridden for two years in the care of his mother. This long period of incapacitation had a deep impact on Demuth, who came to see himself as an invalid, an outsider who was different from everyone else. It was perhaps during this period of indoor confinement that his keen interest in art developed. Several relatives on his father’s side had been amateur artists, and, following his convalescence, his mother encouraged his artistic pursuits by sending him to a local painter for instruction. The majority of his early pictures are of flowers, a subject for which Demuth maintained a lifelong passion. Following high school, Demuth enrolled at the Drexel Institute of Art in Philadelphia, a school renowned for its commercial arts program. He advanced through the program rapidly, and, in 1905, at the encouragement of his instructors, he began taking courses at the Pennsylvania Academy of the Fine Arts. The two leading teachers then at the Academy were William Merritt Chase and Thomas Anshutz. Anshutz, himself a former student of Thomas Eakins, was well liked by his students, and is best known as the teacher of Robert Henri, John Sloan, and several of the other artists of the Ashcan School. Demuth, too, adopted a similar idiom, working in a controlled, realistic manner while at the Academy, where he remained until 1910. In 1907, Demuth made his first trip to Europe, staying in Paris. He spent time on the periphery of the art scene composed of the numerous American artists there, including John Marin and Edward Steichen. He returned to Philadelphia five months later, and immediately resumed courses at the Academy. Despite his introduction to advanced modern styles in Europe, Demuth’s work of this period retains the academic style he practiced before the trip. It wasn’t until he had summered at New Hope, Pennsylvania, in 1908 and 1911, that his style began to evolve. New Hope was a prominent American Impressionist art colony whose members were largely affiliated with the Pennsylvania Academy. Demuth dropped the conservative tone of his style and adopted a freer and more colorful palette. Although he remained based in Philadelphia, Demuth frequently went to New York during this period. Many of the same American artists of the Parisian art scene Demuth had encountered on his earlier European trip now formed the nucleus of New York’s avant-garde, which centered around Alfred Stieglitz’s 291 gallery. It wasn’t long before Demuth began to apply modernist-inspired strategies to his work. He was particularly influenced by the watercolor work of John Marin, also a former student of Anshutz, whose bold use of color in the medium Demuth freely adapted into looser washes of color. In 1912, Demuth again left for Paris, this time studying in the Académie Moderne, Académie Colorossi, and Académie Julian. In Paris Demuth met the American modernist Marsden Hartley. Hartley, a principal figure in the expatriate art circle, acted as a mentor to Demuth, and introduced him to the wide array of modern styles currently practiced in Europe. Hartley also introduced Demuth to many of the members of the Parisian avant-garde, including Gertrude Stein. Demuth was an aspiring writer, and he spent many hours in conversation with Stein. He wrote extensively during this period, and published two works shortly after his return to America. He also developed an interest in illustrating scenes from literary texts. From 1914 to 1919, Demuth produced a series of watercolors of scenes from books such as Emile Zola’s Nana and Henry James’s The Turn of the Screw. Upon his return to America, Demuth settled in New York. In 1914, Demuth had his first one-man show at Charles Daniel’s gallery, which promoted emerging modern American artists, including Man Ray, Rockwell Kent, Yasuo Kuniyoshi, Stuart Davis, and Max Weber. Demuth drew closer to the artistic vanguard in New York, becoming friends with many in the Stieglitz and Daniel circles, including Georgia O’Keeffe, Marcel Duchamp, Carl Van Vechten, and Edward Fiske. New York’s cosmopolitan atmosphere and active nightlife appealed greatly to Demuth. In a sketchy style well suited to watercolor, he painted many vaudeville and circus themes, as well as nightclub, café, and bathhouse scenes. Often with Duchamp, Demuth took part in an urban subculture replete with nightclubs, bars, drugs, and sexual permissiveness, which, for a homosexual artist like himself, allowed room for previously unattainable personal expression. Demuth’s pictures of sailors, bathhouses, and circus performers embody a sensual and sexual undercurrent, expressing the artist’s sense of comfort and belonging in the bohemian subculture of New York. Simultaneously, Demuth deepened his interest in floral pictures, painting these almost exclusively in watercolor. His style evolved from the broad color washes of his earlier pictures to more spare, flattened, and sinuous compositions, inspired by the drawings of Aubrey Beardsley and other artists of the Aesthetic Movement. Demuth’s flower watercolors are moody and atmospheric, sensuous and elegant, introspective and yet full of expressive power. Moreover they are beautiful, and are unequivocally among the finest still lifes in American art. Despite numerous subsequent artistic undertakings that led him in a variety of directions, Demuth never stopped painting flower pictures, ultimately adding fruits and other still-life objects to his repertoire. In 1916, Demuth began to develop a style later known as Precisionism, a form of landscape painting infused with Cubism, in which space is divided into precisely drawn geometric regions of color. Demuth first began to paint the landscape in an appropriated Cubist mode while on a trip with Hartley to Bermuda. In these early landscapes, in which the curvilinear forms of trees intersect the geometrically articulated architectural forms, Demuth explored ideas that shaped the future development of modernism in America. The full realization of Demuth’s explorations came after his return to America in 1917, when he turned his attention to industrial subjects. These works derive from a “machine aesthetic,” espoused by New York artists such as Francis Picabia, Joseph Stella, Albert Gleizes, and Duchamp, by which artists viewed machines as embodying mystical, almost religious significance as symbols of the modern world. Rather than painting the skyscrapers and bridges of New York as did most of his like-minded contemporaries, Demuth returned to his home town of Lancaster, where he painted factories and warehouses in a Precisionist idiom. The titles for these pictures are often contain literary references, which serve as clues for the viewer to aid in the decoding of the artist’s meaning. In 1923, Demuth planned a series of abstract “poster portraits” of his friends and contemporaries in the New York art and literary scene. In these “portraits,” Demuth combined text and symbolic elements to evoke the essential nature of his sitters’ distinguishing characteristics. In this fashion, he painted portraits of such artists as Georgia O’Keeffe, John Marin, and Arthur Dove. His most famous poster portrait, I Saw the Figure 5 in Gold...

Leaning Tower of Pisa is an original drawing in watercolor on cardboard, realized by Russian scenographer  Eugène Berman , Image Dimension: 41 x 33 cm Monogrammed at the bottom: E....

The Dancer is a drawing realized by an anonymous in the mid-20th century. Charcoal drawing on paper. Written on the lower "EN DEUXIEME" Good conditions.

Yvonne Jacquette (American, b. 1935) Tokyo Diptych, 1985 Pastel on paper Overall 17 1/4 x 28 1/2 inches Signed lower center Provenance: Carey Ellis Company, Houston, Texas Brooke Alexander, New York Collection of an American Corporation Exhibited: New York, Brooke Alexander, Yvonne Jacquette: Tokyo Nightviews, April 5 - May 3, 1986, n.p., illustrated; this exhibition later traveled to Brunswick, Maine, Bowdoin College Museum of Art, Yvonne Jacquette: Tokyo Nightviews, June 27 - August 24, 1986. Yvonne Jacquette has a preference for high places, a circling plane, a penthouse window, an aerie from which to watch the world. Her work has often depicted the city and man-made landscape from the vantage of angels. It is a privileged perspective, long loved by photographers, who were perhaps the first to recognize the geometric grandeur of the city below. That grandeur structures Jacquette's images but is not its full content. Her work attempts to resolve the visual and emotional pardoxes of the modern metropolis. Only from the tower is there the possibility of order and context. And unlaced beauty. Jacquette first visited Japan in 1982. Nighttime Tokyo, its cars and crowds and canyons of loud Vegas neon, made a vivid and bewildering impression on her. The neon signs, pulsing, scaling the walls of high rises, fascinated the artist, "like Times Square spread over miles." Her fascination was equal parts marvel, confusion, and curiosity—the sparks of art. She returned to Tokyo in May of 1985, choosing hotel rooms with expansive vistas. From these views Jacquette excerpted images for a series of pastel night scenes. The basic forms and colors of each drawing were blocked in during night sessions by the window. She worked in the dark, selecting colors by flashlight. In daylight, she sharpened the geometry and corrected ambiguous passages. She refined the drawings further in the studio until the images read clearly. Photographic correctness was not important. The finished drawings are complete statements, not simply preparatory sketches for paintings. They have the authority of expert witness. In clear, discreet jots of pastel they record the performance of seeing, each touch of color attesting to a moment's close scrutiny. Yvonne Jacquette was born on December 15, 1934 in Pittsburgh, Pennsylvania and grew up in Stamford, Connecticut. She attended the Rhode Island School of Design, Providence from 1952 to 1955, when she moved to New York City. Her late husband was photographer Rudy Burckhardt, and the couple were part of a circle of artist friends that included Fairfield Porter, Alex Katz, Red Grooms, and Mimi Gross. She continues to live and work in New York City, as well as in Searsmont, Maine. A flight to San Diego in 1969 sparked Jacquette’s interest in aerial views, after which she began flying in commercial airliners to study cloud formations and weather patterns. She soon started sketching and painting the landscape as seen from above, beginning a process that has developed into a defining element of her art. Her first nocturnal painting...

Portrait of Woman is an original black marker drawing realized by and Unknown artist and signed in pencil "Borély". Hand signed, good condition. Included a white cardboard passpart...

An original watercolor on paper by American modernist Charles E. Burchfield, created in 1916. This work comes in an archival frame presentation and has been authenticated by the Bur...

Leon Dolice New York Harbor Nocturne Signed lower right Pastel on paper 12 x 19 inches The romantic backdrop of Vienna at the turn of the century had a life-long influence upon the...

Work on paper

Charcoal and watercolor drawing on paper realized by Mino Maccari in the mid-20th Century. Hand signed in pencil lower right. Very good condition.

Frederick Pomeroy "Napa Valley Landscape" c. 1960s Watercolor on paper 17"x14" brown wood frame float mount over linen mat Signed in paint lower ...

Work on paper without frame Good condition

Pen drawing on paper realized by Mino Maccari in 1932. Not signed.. Published on "Il Selvaggio", n.12, p.83, 1932. Very good condition.

George Morrison 18 Cornelia Street, 1944 Signed and dated "May 1944" lower left Ink on paper 8 1/4 x 5 1/4 inches Provenance The artist Carl Ashby Estate of the above Private Collec...

"The temptation" 1890s is an original drawing in pencil on paper, realized by Gabriel Guèrin. The state of preservation of the artwork is very good. ...

Mediterranean Landscape II', ink on art paper, by Pierre Dionisi (circa 1930s). Sepia-toned, original drawing in a compelling style depicts a view of a ...

Blizzard in Woods Graphite on paper, c. 1945-1963 Unsigned Provenance: Sid Deutsch Gallery, New York Annotated with notes for completing the drawing. Deutsch Gallery has handled Bur...

Original Painting. New Yorker Cover Proposal Baseball c. 1939 Modern Cubist Deco Antonio Petruccelli (1907 - 1994) Play Ball New Yorker cover proposal, c. 1939 12 x 8 inches (sight) Framed 18 1/2 X 14 3/4 inches Gouache on board Estate sticker verso BIOGRAPHY: Antonio Petruccelli (1907-1994) began his career as a textile designer. He became a freelance illustrator in 1932 after winning several House Beautiful cover illustration contests. In addition to 24 Fortune magazine covers, four New Yorker covers, several for House Beautiful, Collier’s, and other magazines he did numerous illustrations for Life magazine from the 1930s – 60s. ‘Tony was Mr. Versatility for Fortune. He could do anything, from charts and diagrams to maps, illustrations, covers, and caricatures,’ said Francis Brennan, the former art director for Fortune. Over the course of his career, Antonio won several important design awards, designing a U.S. Postage Stamp Commemorating the Steel Industry and designing the Bicentennial Medal...

Outstanding drawing realized fro Expo Roma by Carlo and Adolfo Coppedè in 1911. Charcoal on paper mounted on stretcher. Includes a beautiful iron frame by Roberto Fallani, realized...

Charles Burdick, American (1924 - ) - Bull Fighter, Year: circa 1970, Medium: Ink on paper, signed, Size: 9.5 in. x 14.5 in. (24.13 cm x 36.83 cm), Frame Size: 16.5 x 22 inches

Frank Nelson Wilcox (American, 1887-1964) Fisherman's Island, Boothbay, Maine, c. 1925 Watercolor on paper Signed lower left 15 x 20 inches 20.75 x 25.75 inches, framed Frank Nelson Wilcox (October 3, 1887 – April 17, 1964) was a modernist American artist and a master of watercolor. Wilcox is described as the "Dean of Cleveland School painters," though some sources give this appellation to Henry Keller or Frederick Gottwald. Wilcox was born on October 3, 1887 to Frank Nelson Wilcox, Sr. and Jessie Fremont Snow Wilcox at 61 Linwood Street in Cleveland, Ohio. His father, a prominent lawyer, died at home in 1904 shortly before Wilcox' 17th birthday. His brother, lawyer and publisher Owen N. Wilcox, was president of the Gates Legal Publishing Company or The Gates Press. His sister Ruth Wilcox...

'The Parade of Fairground Wrestlers', India ink on art paper, Modern French School (early 1900s). Traveling shows often held promotional events before opening in local areas to generate enthusiasm for the spectacle. This is an intriguing depiction of the various acts on stage strutting their stuff before an audience of potential customers. On the platform, fairground wrestlers mix with clowns, dancers, a percussionist in bolero hat...

Charles Burdick, American (1924 - ) - Horseman, Year: circa 1970, Medium: Ink and Acrylic on Paper, signed, Size: 20 x 14 in. (50.8 x 35.56 cm), Frame Size: 28 x 22 inches

Leon Dolice New York Harbor Nocturne Signed lower right Pastel on paper 12 x 19 inches The romantic backdrop of Vienna at the turn of the century had a life-long influence upon the...

Black marker drawing realized by Mino Maccari in the 1960s. Hand signed in pencil lower right. Very good condition.

A wonderful 1941 watercolor of Chicago's Old Town neighborhood that features an old car, titled "Wells & Eugenie" by Albert Rudin. Image size: 11 1/2" x 15 1/2". Framed size: 18"...

Gino Hollander: 1924-2015. Well listed American artist with Auction results over $14,000. He lived in California, Colorado, and Spain. This fabulous mixed media measures 11 1/4 inche...

A modernist gouache on paper depicting the New York City skyline. Signed lower right, C.1938. The Irish landscape artist, graphic designer and illustrator Nora McGuinness was born in County Derry, Northern Ireland. She studied drawing and fine art painting at the Metropolitan School of Art, Dublin (now the National College of Art & Design), the Chelsea Polytechnic, London, and then (on the advice of Mainie Jellett...

Collioure, France by Bernard Labbe (French mid 20th century) original gouache on artist paper, unframed size: 13 x 19.5 inches condition: very good and ready to be enjoyed. provena...

Paul Kohn - Man Smoking Pipe, Year: 1969, Medium: Watercolor and Graphite, signed and dated in pencil lower right, Size: 11 x 8.5 x 3 in. (27.94 x 21.59 x 7.62 cm), Frame Size: 1...

Watercolour view of boats in a port, looking out to sea, by French Painter Jean-Paul Claveau. The painting is signed and dated bottom left and presented in painted wood frame, with c...

Indian Dancer - Vintage Illustration in Ink and Watercolor A stoic, dark-haired woman in elaborate dress is sitting cross-legged in this illustration by Irene Pattinson (American, 1909-1999). Pattinson uses fine ink line detail and a vibrant pink watercolor for a splash of color. Signed at the bottom, "Irene Pattinson." Provenance: The Artist, Estate of Irene Pattinson: David Carlson; Estate of Larry Miller Fine Art, Robert Azensky Fine Art. Presented in a new white mat with foam core backing. Mat size: 16"H x 12"W Paper size: 11.75"H x 8.5"W Image size: 7.5"H x 6.5"W Irene Pattinson (American, 1909-1999) studied at the California School of Fine Art (now The San Francisco Art Institute), San Francisco State College and The Marion Hartwell School of Design. She was President of the San Francisco Woman Artists Association 1955-56. Provenance: The Artist, Estate of Irene Pattinson: David Carlson; Estate of Larry Miller Fine Art, Robert Azensky Fine Art. Solo Exhibitions: Lucien Labaudt Gallery 1955; San Francisco Museum of Art, 1961 (39 works). Selected Group Exhibitions: San Francisco Art Association Annual 1948, 54, 55; San Francisco Woman Artists, 1957-1960; Oakland Art Museum Annual, 1951, 58; California Palace of the Legion of Honor, 1960; Richmond Art Center, 1955, 56, 57, 58; San Francisco Art Institute 1959, 60. The Art Bank of the San Francisco Art Association, 1958, 59, 60, 62, 63; Winter Invitational, California Palace of The Legion of Honor, San Francisco, 1960; Fourth Winter Invitational, California Palace of The Legion of Honor, San Francisco, 1963. Awards: First Place, San Francisco Woman Artists Assoc., 1957, 1959; San Francisco Art Festival 1957;Literature: San Francisco Art Institute - A catalog of the Art Ban 1962/63; San Francisco and the Second Wave: The Blair Collection Exhibitions: 1963 The Art Bank of the San Francisco Art Association, San Francisco, CA 1963 California Palace of The Legion of Honor: Forth Winter Invitational, San Francisco, CA 1962 The Art Bank of the San Francisco Art Association, San Francisco, CA 1961 San Francisco Museum of Art, San Francisco, CA 1960 California...

Watercolor drawing on paper realized by Mino Maccari in the mid-20th Century. Hand signed lower right. Very good condition.

Policemen is an original modern artwork realized in France by Hermann-Paul (1879 - 1969). Original watercolor and Charcoal. Good conditions except for a missing corner of the dyell...

Landscape is an original modern artwork realized by Ardengo Soffici in 1930s. Pencil on paper. Hand signed lower right. Includes frame.

The artist has covered New York collections for over 16 years and has interviewed, as a journalist, several fashion designers and personalities for different publications. He loves t...

Birds in Morocco is an original drawing realized by Helen Vogt in mid-20th Century. Watercolored pen drawing on paper. Fair conditions. Foxings. Includes frame (fair condition) :...

This artwork "Still Life #1" c.1970 is a colors pastel and crayon on thick paper by American artist Jerry Opper, 1924-2014. It is hand signed in pencil at the lower right corner by the artist. The image size is 22 x 16 inches, sheet size is 24.25 x 18 inches. It is in excellent condition, there are pastel marks on the margin all around the artwork and also on the back, see picture #1. About the artist: Jerry Opper was born in Cleveland, Ohio, on September 5, 1924. He moved to Los Angeles with his family in 1933. After graduating from Hollywood High School, he worked in movie studios and attended art classes at Chouinard Art Institute. In May 1942, Opper was drafted into the army and was then able to study at the Colorado Springs Fine Arts Center while his outfit was stationed in Colorado. Later he was sent to Guam and was discharged in December 1945. Opper returned to Chouinard and his work in movie studios until 1947, when he moved to San Francisco. He enrolled as a full-time student at the California School of Fine Arts (now SFAI) and received his diploma in June of 1950. In 1948, Opper met his wife Gertrud Ruth Friedmann, daughter of artist Gustav Friedmann, whose works are also in the Lost Art Salon collection. It was love at first sight and a few weeks after their first encounter at the Black Cat in San Francisco's North Beach, they got married and enjoyed a passionate, life-long romance. Shortly after he finished school, Opper worked briefly as a decorator’s assistant and then started his career as a commercial artist, working for several firms such as Fibreboard, Beatrix Food and Precision. Working full-time and dedicating himself to having a rich family life occupied most of Opper's time, but he continued to be creative. He was above all a family man with the pride of having raised two exceptional daughters, Erika and Jody. Year after year, Opper would painstakingly craft their Halloween costumes...

Pensatori is an original drawing in mixed media on creamy cardboard realized by Gabriele Galantara (1865-1937). In good conditions. This is an original drawing representing two me...

Christ on the cross is a modern artwork realized in the style of George Rouault in mid-20th Century. Mixed colored watercolor and tempera. Includ...

Figure is an original Drawing in watercolor on creamy-colored paper realized by an anonymous artist in the Mid 20th century. Good conditions. The artwork is represented posing nude...

Charcoal drawing on paper realized by Mino Maccari in the mid-20th Century. Hand signed lower left. Very good condition.

Standing Male Nude, Arms upraised (Kouros) Graphite on wove paper, c. 1930 Signed lower right (see photo) Possibly exhibited in May 8-June 1,1973 at Alan Stone Gallery entitled Erotica, which lists Lachaise as one of the artists exhibited. Part of small group of drawings of the male nude, done late in the artist's life, many of which are in museums (MMA, FAMSF, Whitney, Yale, Princeton). Almost identical to the Lachaise drawing in the Fine Arts Museums of San Francisco, which is the same size and depicts the same model. (see photo) Very similar to the smaller Lachaise drawing in the Whitney Museum of American Art (Accession number 32.2). The Metropolitan Museum has a Lachaise male nude drawing with one arm upraised (Accession Number: 68.91.1) Provenance: Alan Stone Gallery, New York Alan Stone Projects, New York (see photo of label) Condition: excellent Archival framing with OP3 Acrylic for UV protection 22K gold leaf frame Image size: 17 3/4 x 12 inches Frame size: 26 1/2 x 20 1/2 inches Regarding Alan Stone Gallery: "Founded in 1960 by visionary connoisseur and dealer Allan Stone (1932 – 2006), the gallery known today as Allan Stone Projects has been admired for over half a century. Celebrated for his eclectic approach and early advocacy of pivotal artists of the 20th Century, Allan Stone was a leading authority on Abstract Expressionism, the New York dealer for Wayne Thiebaud for over forty years, and a passionate collector of Willem de Kooning, Franz Kline, Arshile Gorky, Joseph Cornell, John Graham and John Chamberlain. He also promoted and collected the work of a younger generation of artists, including Robert Arneson, Jack Whitten, Robert Mallary, Lorraine Shemesh...

August Frederick Biehle (1885-1979) Woods Interior, Berlin Heights, 1920 Gouache and colored pencil on paper Signed and dated lower right 17 x 23 inches 23.25 x 29.25 inches, framed ...

"Figures" is an original drawing in tempera on paper glued on ivory-colored cardboard, by an Anonymous Artist of XX Century. In excellent conditions: as good as new. Sheet dimension: 41.8 x 58 cm. This is an original drawing representing two men figures.

Rural Landscape is a drawing realized by Rene Suoest 1903-1980 in 1930. Marker on a cream-colored paper. Good conditions with folding. The artwork is realized through deft quick s...

Fred Nagler was born in 1891 in Springfield, Massachusetts, where he first studied wood carving. From 1914 to 1917, he studied at The Art Students League of New York, where his prof...

Watercolor drawing on paper realized by Maccari in the mid-20th Century. Hand signed lower left. Very good condition except for a minor burn in the top left edge.

The Figures Sketches is an original Drawing on paper realized by French painter Norbert Meyre in the mid-20 century. Drawing in pencil and pen and pa...

Mabel E. Johnston Untitled, c. 1930s Watercolor and pencil on paper Sight: 12 1/2 x 10 1/2 in. Framed: 21 1/8 x 17 1/4 x 1/2 in. Signed lower right: Mabel E. Johnston The first tidb...

'The Red Headdress', pastel on art paper, by W. Worms (circa 1960s). A beautiful woman with contemplative expression and tender eyes is exquisitely portrayed by the artist. The treat...

Horses is a pencil drawing on ivory-colorated paper, realized by unknown Artist of Mid-20th Century. In very good conditions. Not signed. Illegible signature on the back of the dr...

Leon Dolice New York Harbor Nocturne, circa 1930-40 Signed lower right Pastel on paper 12 x 19 inches The romantic backdrop of Vienna at the turn of the century had a life-long inf...

Figure of Man is a Colored lithograph realized by Jean Cocteau (1889 -1963) in 1930 ca.  French draftsman, poet, essayist, playwright, librettist, film director. Good conditions. ...