Naturalistic Drawings and Watercolor Paintings

This is a fine detailed French Naturalistic portrait. Executed on November 2nd 1889 and signed PHL. In good condition. Signed and dated middle right. Provenance. Private collection. ...

Portrait of Gustaf Wilhelm Palm (1810–1890) by Lorenz Frølich (1820-1908) Signed with monogram and dated May 1849. Pencil and pastel on paper. 29.5 × 21 cm. This portrait of the Swed...

This is an exclusive handprinted limited edition cyanotype. "Azure Clouds" is an cyanotype of the semi-abstract patterns of clouds in the sky, showing shades of blue. Details: + Tit...

Early 19th century ink drawing of Chartres Cathedral by English artist Samuel Prout. The work focuses on the large scale architectural elements of the cathedral with small figures st...

Early naturalistic wildlife rendering by the English artist Peter Paillou. The work features a delicately rendered depiction of a possible capuchin monke...

Rare Set of 6 beautiful Naturalistic hand-colored lithograph prints by John Gould from his work Birds of Europe, embelished with gum arabic in vibrant colors. Published 1832 - 1837 by Hullmandel, Walter and Walton. Presented in gold leaf wood frames. Very charming . The price includes the set of 6 framed ones. John Gould (1804–1881) is the most prolific publisher of ornithological subjects of all time. In 19th-century Europe, his name was as well known as Audubon’s was in North America. Unlike Audubon, whose life’s work focused on one region, Gould traveled widely and employed other artists to help create his lavish, hand-colored lithographic folios. John Gould’s love of natural history was fostered in the gardens of King George III where his father was chief gardener at Windsor Castle. Although trained as a gardener, Gould’s interests quickly evolved, and at the age of 20, he was appointed taxidermist to the Zoological Society of London. After three years, he progressed to the position of curator of birds and chief taxidermist. In 1830, newly married, Gould and his artist wife, Elizabeth Gould...

The idyllic atmosphere of this country scene falls within a couple of styles one being regionalism, an American realist modern art movement that included paintings, murals, lithographs, and illustrations depicting scenes of rural and small-town America primarily in the Midwest and frequently associated with Grant Wood and Thomas Hart Benton. The other style is romanticism wherein the scene depicted is a more desired or dramatic version of what actually is. “Untitled (Winter Road)” is a quiet country scene depicting a road leading into the distance either going to or coming from a local farm. The snow does not particularly seem fresh suggesting a melt and the coming of spring. This piece has been professionally reframed with acid-free matting and conservator glass. In a 1952 Detroit Free Press article, entitled “Artist Explains His Work,” Culver was asked why he painted the way he did. He stated: “I try to ‘see’ though not too exactly; I try to think though not too ponderously; I feel emotion yet I try not to become overwrought. I interpret rather than describe, and design rather than depict. I work with values, not light and shade; hence, when I am successful, I achieve substance rather than three-dimensional form, and this satisfies me as being wholly sufficient. In my work I wish to be serious without becoming a bore, exuberant without being frivolous, humorous without being silly. I believe that good paintings are conceived, not contrived; and I am interested in art much more than in pictures.” Charles...

'Omvetya III (Sea Carrots, Sennen)' Original Artwork. Unframed ______________ The evening light is drawing low soft shadows in the dunes at the salted edge of the Atlantic. 'Omvety...

This is a beautiful and highly decorative watercolor painting, featuring a charming garden scene filled with pink and white hollyhocks alongside blooming roses. Nestled among the del...

This series of cyanotype triptychs showcases the beauty of nature scenes, including stunning beaches and oceans, as well as the intricate textures of water, forests, and skies. These triptychs are large pieces that feature lush blues, making them an impressive addition to any beautifully designed space. Each triptych is printed by hand and carefully crafted to capture the unique essence of these natural environments, with a focus on the interplay of light and shadows, and the subtle nuances of tone and texture. The beach and ocean scenes depict the dynamic beauty of waves crashing against the shore, with the cyanotype process lending a dreamy, ethereal quality to the images. Similarly, the forest and wood scenes offer a glimpse into the hidden depths of nature, with the cyanotype process lending a sense of mystery and wonder to the images, while the lush blues of cyanotypes imitate the sky and clouds perfectly. These triptychs are perfect for anyone who loves to surround themselves with the beauty of nature, and they make an excellent centerpiece for any beautifully designed space. Details: + Title: Desert Palm Trio + Year: 2024 + Edition Size: 20 + Stamped and Certificate of Authenticity provided + Measurements : 100x210 cm (40 x 84 in.) Each paper measures 70x100 cm (28x 40 in.) each, a standard frame size + All cyanotype prints are made on high-quality Italian watercolor paper WHAT IS A CYANOTYPE? The cyanotype (a.k.a. sun-print) process is one of the oldest in the history of photography, dating back to the 1840's. Cyanotypes were then made famous by Anna Atkins, considered the first female photographer. Inspired by nature, we feel the need to look back at a craft that is handmade, analogue, and using an all-natural light source: the sun. Our cyanotypes are made by coating high-quality Italian watercolor paper with a light-sensitive emulsion. We then expose it in direct sunlight for several minutes using a photo negative...

We are delighted to present this enchanting winter landscape by the Sundsvall-born artist Oscar Lycke. Executed in 1911, Motif from Ljusdal captures the serene beauty of a snow-cover...

A really charming and beautifully executed study of a horse by this very talented artist. A most attractive picture of this noble creature in ready to hang condition Rafael Mckenzi...

'Ebren Ha Dor, Tremenus'. Contemporary landscape painting, Cornwall Original Artwork. Framed ready to hang _________________ The dancing light and rapidly changing skies, hung high a...

[CHINESE SCHOOL]. Two Watercolour Scenes. Possibly Canton ca.1820]. Very impressive large scale watercolours of Chinese scenes, presumably executed for the Western market by an an...

This is an exclusive handprinted limited edition cyanotype. This cyanotype shows a desert palm tree located in the majestic mediterranean city of Cairo, Egypt. Details: + Title: C...

Charles De Wolf Brownell (American, 1822 - 1909) Watercolor on paper depicting a pumpkin on a flowering vine Hand dated and inscribed "Lyme ...

Draft Horse is an original modern artwork realized in the second half of the XIX Century by a French Artist. Original pencil drawing watermarked paper. Mint conditions. Draft Horse is an interesting drawing realized in the XIX Century in France; it depicts a genre scene, a draft horse with a small carriage...

Naturalistic portrait of a french woman with a styled hair cut. The work is signed and dated by the artist. The paper is not framed. Many others are available. Please inquire to buy the entire collection. Artist Biography: Emile Lejeune...

Nice ink and watercolor by Carlo (Charles) Coleman, an english born painter who worked in Italy for most of his life and in well known for his bucolic and animal representations. Fai...

Lofty group of three 19th Century watercolors on paper of exotic birds including parrots and a toucan executed in a naturalist style, signed E A Roper, dated 1833 to 1845 and present...

Blanche et Noire, de l'album «Toulouse-Lautrec, douze lithographies» 52,2 x 35,9 cm

Attributed to Xavier de Poret (1923-2016) Study of Greyhounds, 1963 Pencil, stump, and watercolor highlights. Signed in the lower right and dated "Oct. 63". 49 x 64 cm Provenance:...

Scottish artist Robert Carrick (1829-1904) is renowned for his landscape and figurative paintings in oil and watercolor. This painting features detailed drawings of figures in the foreground with wagon, and the town and scenery in the background, painted over in watercolor in rich raw umber and red-brown tones in the foreground and blue green tones in the background. Carrick showed promise at a young age, exhibiting his work at the Royal Academy age 16. He was a member of the Royal Institute. This two-toned watercolor work has detailed figures, wagon with hay in the forefront above a view of Dunoon town near Glasgow as it was long ago. Signed by the artist, lower left with an inscription that reads: 'View of Dunoon, Argyllshire drawn by Robert Carrick, Glasgow, for David Allan'. Verso includes a copy of the same inscription. Saltire Gallerie replaced the cracked and dirty plain glass with art glass and added an acid-free paper behind the work. While doing this work we found an art giclee, included with the painting. Presented in a patterned wooden frame with art glass. Dunoon was a thriving town on the river at the time of this work, and later became part of Glasgow. The view from above the town is a popular one, as Saltire Gallerie has another view of Dunoon from above by Scottish artist Patrick Downie...

Christoper Ryland (born 1951) Three yellow tulips Signed Watercolour 15½ x12¼ inches A really striking example with the eye-catching contrast of the brilliant yellow tulips against an inky blue background. Christopher Ryland...

Idyllic depiction of Mount Fuji by Japanese artist Emiko Satsuta (early 20th Century). Muted colors create a serene atmosphere, with Mount Fuji in the ba...

Grey tonal painting of a Falcon perched on a branch. The work is framed in a silver frame with a white matte. The artist signed the work in the bottom right corner. Artist Biograph...

Woodland Stems on Dark by Jo Haran [2021] original Gouache, watercolour ink and gesso. Image size: H:64 cm x W:47.3 cm Complete Size of Unframed Work: H:67 cm x W:50.7 cm x D:0.01cm...

Themistokles von Eckenbrecher (1842 Athens - 1921 Goslar), Norwegian pine grove, 1901. Watercolor on blue-green paper, 30 x 22 cm. Signed, dated and inscribed in his own hand "TvE. Fagermes [i.e. Fagermes]. 26.6.[19]01." - Slight crease throughout at left margin, otherwise in good condition. About the artwork Themistokles von Eckenbrecher often traveled to Norway to study the nature that fascinated him there. On June 26, 1901, near the southern Norwegian town of Fagernes, in the summer evening sun, he saw a small pine grove, which he immediately captured in a watercolor. He exposed the trees growing on a small hill in front of the background, so that the pines completely define the picture and combine to form a tense motif. The tension comes from the contrast of form and color. The trunks, growing upward, form a vertical structure that is horizontally penetrated by the spreading branches and the pine needles, which are rendered as a plane. This structural tension is further intensified by the color contrast between the brown-reddish iridescent trunks and branches and the green-toned needlework. Themistokles von Eckenbrecher, however, does not use the observed natural scene as an inspiring model for a dance of color and form that detaches itself from the motif and thus treads the path of abstracting modernism. Its inner vitality is to be brought to light and made aesthetically accessible through the work of art. It is precisely in order to depict the inner vitality of nature that von Eckenbrecher chooses the technique of watercolor, in which the individual details, such as the needles, are not meticulously worked out, but rather a flowing movement is created that unites the contrasts. The trees seem to have formed the twisted trunks out of their own inner strength as they grew, creatingthose tense lineations that the artist has put into the picture. The inner strength continues in the branches and twigs, culminating in the upward growth of the needles. At the same time, the trunks, illuminated by the setting sun, seem to glow from within, adding an almost dramatic dimension to the growing movement. Through the artwork, nature itself is revealed as art. In order to make nature visible as art in the work, von Eckenbrecher exposes the group of trees so that they are bounded from the outside by an all-encompassing contour line and merge into an areal unity that enters into a figure-ground relationship with the blue-greenish watercolor paper. The figure-ground relationship emphasizes the ornamental quality of the natural work of art, which further enforces the artwork character of the group of trees. With the presentation of Themistokles von Eckenbrecher's artistic idea and its realization, it has become clear that the present watercolor is not a study of nature in the sense of a visual note by the artist, which might then be integrated into a larger work context, but a completely independent work of art. This is why von Eckenbrecher signed the watercolor. In addition, it is marked with a place and a date, which confirms that this work of nature presented itself to him in exactly this way at this place at this time. At the same time, the date and place make it clear that the natural work of art has been transferred into the sphere of art and thus removed from the time of the place of nature. About the artist Themistocles' parents instilled a life of travel in their son, who is said to have spoken eleven languages. His father, who was interested in ancient and oriental culture, was a doctor and had married Francesca Magdalena Danelon, an Italian, daughter of the British consul in Trieste. During a stay in Athens - Gustav von Eckenbrecher was a friend of Heinrich von Schliemann and is said to have given him crucial clues as to the location of Troy - Themistokles saw the light of day in 1842. After an interlude in Berlin, where Themistokles was educated at the English-American School, the journey began again. From 1850 to 1857 the family lived in Constantinople, after which the father opened a practice in Potsdam, where Themistokles, who wanted to become a painter, was taught by the court painter Carl Gustav Wegener. In 1861 the von Eckenbrechers left Potsdam and settled in Düsseldorf. There Themistokles received two years of private tuition from Oswald Aschenbach, who greatly admired the talented young artist. After his artistic training, he undertook extensive travels, often accompanied by Prince Peter zu Sayn-Wittgenstein, which took him to northern and eastern Europe, but above all to the Middle East and even to South America. The paintings that resulted from these journeys established his artistic reputation and led to his participation in large panoramas such as the 118 x 15 metre Entry of the Mecca Caravan into Cairo, painted for the City of Hamburg in 1882. 1882 was also the start of a total of 21 study trips to Scandinavia, most of them to Norway, and the unique Norwegian landscape with its rugged fjords became a central motif in his work. Along with Anders Askevold and Adelsteen Normann...

Image dimensions: 14x22 cm. Horse with Herds is a really beautiful china ink original drawing on paper, signed and dated in black ink on lower margin by the Italian artist, Filippo Palizzi...

Flowers is an original orangish drawing in pastel realized by Gustave Bourgogne, Hand-signed by the artist on the rear. The State of preservation is good. Sheet dimension: 59 x 46 ...

Figurative study of a dancing woman. The work is signed by Thierry Andre thought to be a French who was influenced by Edgar Degas. The paper is not fr...

Charles Frederick de Brocktorff (1775–1850) ‘Camelopard – a present from the Pacha of Egypt to the King – at Malta on its way to England’ Signed and dated C.F. de Brocktorff. / 1827. lower right, inscribed as titled in the painted margins lower centre. Pencil and watercolour heightened with gold paint and gum arabic on paper, 36.8 x 27.9 cm A gift so majestic, it made kings blush, and a gift so grand, it would startle Europe into a craze. Pasha Muhammad Ali of Egypt (1805-1848) did it in 1827: he sent to Europe three magical spotted, horned creatures, each with a neck reaching the skies and legs as long as a house is high. One giraffe to King Charles X of France, one to Francis I of Austria and the most fabled one to King George IV of England. A curious sight for Europeans, who had not seen such a beast since the Medici giraffe in 1487. Few animals created more of a stir in Europe than these royal...

Dancing Stems by Jo Haran [2020] original Gouache, watercolour ink and gesso. Image size: H:53.2 cm x W:62 cm Complete Size of Unframed Work: H:56 cm x W:64.5 cm x D:0.01cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look 'Dancing Stems' by Jo Haran is an original paitnng of lively rose stems and dark inky leaves in a dynamic composition. I used touches of neon pink acrylic...

Delicacy by Jo Haran [2020] original Watercolour, gouache and gesso Image size: H:36.5 cm x W:49 cm Complete Size of Unframed Work: H:38 cm x W:50.7 cm x D:0...

Carl Friedrich Deiker (1838 Wetzlar - 1892 Düsseldorf). Vigilant fox. Pencil drawing on brown paper, 18 × 29.5 cm (inside measurement), 31.5 x 43.5 cm (mount), signed and dated "Deiker [18]54" at lower right. - a little bit stained, with a light water stain at lower right About the artwork Carl Friedrich Deiker's consummate ability to depict animals is already evident in this early work. He brought a whole new psychological dimension to animal painting, so that one could literally speak of animal portraits. The naturalistic appearance of the fox alone makes it seem alive. Every strand of muscle, even every hair, is captured, which requires an intensive artistic study of animal anatomy and physiology. But the fox's real liveliness comes not from its natural appearance, but from its internal movement: Stretched out, it has been brought out of rest. It turns around and, with its ears pricked up, looks intently in the direction from which it has seen something. His mouth is slightly open and his pointed teeth are bared, as if he were growling. Tension gradually takes hold of his whole body. While the hind legs were still in a relaxed position, closely observed by Deiker, one front leg was already raised, ready to begin a rising movement. The fox seems so alarmed with all its senses that one gets the impression that, at any moment, its tail will move jerkily and the animal will jump up. While wild animals have traditionally been portrayed as beasts or anthropomorphised, often for caricatural purposes, Deiker explores their inherent nature by attempting to capture their psychic impulses. The wild animal is neither bestial nor human, but a creature in its own right, valued by Deiker for its own sake. In this way, he brought the dignity of the animal into representation and raised animal painting to a whole new artistic level. About the artist Carl Friedrich Deiker was the son of the drawing teacher Christian Friedrich Deiker and the younger brother of the animal painter Johannes Deiker. In addition to the family art lessons, Christian Friedrich shared a studio with his brother Johannes at Braunfels Castle, Deiker attended the drawing academy in Hanau, and from 1858 he was a student at the Karlsruhe Art Academy, where he studied under the landscape painter Johann Wilhelm Schirmer. Carl Friedrich Deiker was already in demand as an artist during his first year: Grand Duke Frederick I of Baden, Margrave Max of Baden and Grand Duke Michael of Russia bought hunting scenes by him. In 1859 he went on a study trip to the Reinhardswald. Just as the Barbizon School had rediscovered the landscape, Deiker opened up the forest for animal painting. From 1861-64 Deiker had his own studio in Karlsruhe, then moved to Düsseldorf, where his brother Johannes followed four years later. Deiker married a daughter of the landscape painter Karl Hilger and remained in Düsseldorf until his death. In 1868 he finally achieved international fame with his painting 'Pursued Noble Deer' and was regarded as a virtuoso new founder of animal painting. "Deiker brought for the first time a truly great artistic quality to animal painting [...]". - Hans Vollmer From 1870 he participated in the academic art exhibitions in Berlin, Dresden, Munich and Hanover. He was also very busy as an illustrator. He drew for the Gartenlaube, the Salon, the Universum, and produced many of the finely illustrated hunting and animal books of the period. He also worked as a printmaker, while his oil paintings circulated as reprints by Franz Dinger. From 1865 to 1892 Deiker was a member of the artists' association Malkasten. Carl Friedrich Deiker's life's work was honoured with a large posthumous memorial exhibition at the Düsseldorf Kunsthalle in 1892. His son Carl Deiker, born in 1879, also became a painter. Selection of art museums that own works by Carl Friedrich Deiker: Hamburger Kunsthalle / Kunsthalle Karlsruhe / Kunstmuseum Düsseldorf / Wallraff Richartz Cologne. Selected Bibliography H. Schmidt: Johannes and...

Portrait study of a woman seated with her dress coming off her body. She looks out at the viewer in a seductive manner. The work is signed and dated by the artist. The paper is not framed. Many others are available. Please inquire to buy the entire collection. Artist Biography: Emile Lejeune...

Artist Commentary: A stunning, colorful Texas sunset. Keywords: Landscape & Nature Artist Biography: Judith grew up 15 miles north of Milwaukee in the ...

The eerie timeless Flat Iron building stands silhouetted against a winter sky one day in NYC. Tom was struck by the severe geometry of an historic b...

Artist Commentary: Texas hill country sunset on a warm October evening. Keywords: Landscape Artist Biography: Judith grew up 15 miles north of Milwaukee in the town of Mequon, Wis...

European School, late 18th century. Red chalk with primo pensiero in graphite on cream laid paper, 8 1/2 x 11 1/2 inches (215 x 293 mm). Scattered light handling wear and multiple s...

'Dawn Lake (Blue Ridge Mountains)' Original Artwork. Unframed ______________ The dawn is painting transient layered reflections in the water, shifting the softened space between whe...

A really charming and skillfully executed study of a chimpanzee by this very talented artist. A most attractive picture which captures the personality and essence of the chimp. Raf...

This is an exclusive handprinted limited edition cyanotype of a beautiful Aloe plant. Details: + Title: Jurassic Aloe Leaves + Year: 2022 + Edition Size: 100 + Stamped and Certifica...

'Omvetya I (Prye, Rising Tide)' Original Artwork. Unframed ______________ Softly dancing seaweed, patiently awaits the return of the salty sea to fill the tidal pools. Created outdo...

This is an exclusive handprinted limited edition cyanotype of a beautiful Palm Tree Leaf. Details: + Title: Palm Tree Leaf Over Blue Sky + Year: 2025 + Edition Size: 100 + Stamped a...

'Scarlet Dreams'. Original Artwork. Framed ready to hang _________________ Exploring the flux and balance in the nature of all things, 'Scarlet Dreams' captures an essence of the equ...

'Omvetya II (Cargeen, Towards Treryn Dinas)' Original Artwork. Unframed ______________ Softly dancing seaweed, patiently awaits the return of the salty sea to fill the tidal pools. ...

Bay Light I pastel on paper 6 x 6inches 12 x 12 inches 2023

Serene cloudy landscape by Arthur Philemon Coleman (Canada, 1852-1939). From atop a hill, the viewer looks across a valley. There are a few outcroppings of trees, as well as a farmhouse and livestock. In the far distance, rolling hills with exposed rock are seen in the distance. Signed "A. Coleman" in the lower left corner. Presented in a double mat with foam core backing. Image size: 9.75"H x 16"W Mat size: 14.88"H x 21.75"W Some age toning to paper and an age toned section is in the center of the painting running from top to bottom. Arthur Coleman...

A Collection of Botanical Watercolours: Drawings of British Plants Emily Stackhouse (1811-1870) perfectly illustrates the Victorian fascination with the countryside in this remarkab...

Untitled naturalist portrait of a musician with a guitar. The work is signed by the artist in the bottom corner and the work is not currently framed. Art...

[CHINESE EXPORT WATERCOLOURS ON PITH PAPER]. A Group of 10 Flowers and Butterflies. mid to late nineteeenth century. A fine group of Chines...

Sophisticated contemporary floral botanical watercolor of a Bat Flower crated by Adrienne Sherman, whose poetic floral series is at once modern, f...

Pencil on cream wove paper, 9 1/4 x 7 7/8 inches (235 x 200 mm). Overall toning with multiple spots of white discoloration throughout, and a spray of foxing across the image area on ...

Lighthearted Illustration of Outdoor Pursuits This one being cross country hiking signed "W. Steig" Provenance: from Mrs. Joseph B. Ryan, Commissioned by Joe Ryan for the bar at his ski resort, Mount Tremblant Lodge, in 1938. Mont Tremblant, P.Q., Canada Watercolor and ink on illustration board, sights sizes 8 1/2 x 16 1/2 in., framed. In 1938 Joe Ryan, described as a millionaire from Philadelphia, bushwhacked his way to the summit of Mont Tremblant and was inspired to create a world class ski resort at the site. In 1939 he opened the Mont Tremblant Lodge, which remains part of the Pedestrian Village today. This original illustration is on Whatman Illustration board. the board measures 14 X 22 inches. label from McClees Galleries, Philadelphia, on the frame backing paper. William Steig, 1907 – 2003 was an American cartoonist, sculptor, and, in his later life, an illustrator and writer of children's books. Best known for the picture books Sylvester and the Magic Pebble, Abel's Island, and Doctor De Soto, he was also the creator of Shrek!, which inspired the film series of the same name. He was the U.S. nominee for both of the biennial, international Hans Christian Andersen Awards, as a children's book illustrator in 1982 and a writer in 1988. Steig was born in Brooklyn, New York in 1907, and grew up in the Bronx. His parents were Polish-Jewish immigrants from Austria, both socialists. His father, Joseph Steig, was a house painter, and his mother, Laura Ebel Steig, was a seamstress who encouraged his artistic leanings. As a child, he dabbled in painting and was an avid reader of literature. Among other works, he was said to have been especially fascinated by Pinocchio.He graduated from Townsend Harris High School at 15 but never completed college, though he attended three, spending two years at City College of New York, three years at the National Academy of Design and a mere five days at the Yale School of Fine Arts before dropping out of each. Hailed as the "King of Cartoons" Steig began drawing illustrations and cartoons for The New Yorker in 1930, producing more than 2,600 drawings and 117 covers for the magazine. Steig, later, when he was 61, began writing children's books. In 1968, he wrote his first children's book. He excelled here as well, and his third book, Sylvester and the Magic Pebble (1969), won the Caldecott Medal. He went on to write more than 30 children's books, including the Doctor DeSoto series, and he continued to write into his nineties. Among his other well-known works, the picture book Shrek! (1990) formed the basis for the DreamWorks Animation film Shrek (2001). After the release of Shrek 2 in 2004, Steig became the first sole-creator of an animated movie franchise that went on to generate over $1 billion from theatrical and ancillary markets after only one sequel. Along with Maurice Sendak, Saul Steinberg, Ludwig Bemelmans and Laurent de Brunhofff his is one of those rare cartoonist whose works form part of our collective cultural heritage. In 1984, Steig's film adaptation of Doctor DeSoto directed by Michael Sporn was nominated for the Academy Award for Best Animated Short Film. As one of the most admired cartoonists of all time, Steig spent seven decades drawing for the New Yorker magazine. He touched generations of readers with his tongue–in–cheek pen–and–ink drawings, which often expressed states of mind like shame, embarrassment or anger. Later in life, Steig turned to children's books, working as both a writer and illustrator. Steig's children's books were also wildly popular because of the crazy, complicated language he used—words like lunatic, palsied, sequestration, and cleave. Kids love the sound of those words even if they do not quite understand the meaning. Steig's descriptions were also clever. He once described a beached whale as "breaded with sand." Throughout the course of his career, Steig compiled his cartoons and drawings into books. Some of them were published first in the New Yorker. Others were deemed too dark to be printed there. Most of these collections centered on the cold, dark psychoanalytical truth about relationships. They featured husbands and wives fighting and parents snapping at their kids. His first adult book, Man About Town, was published in 1932, followed by About People, published in 1939, which focused on social outsiders. Sick of Each Other, published in 2000, included a drawing depicting a wife holding her husband at gunpoint, saying, "Say you adore me." According to the Los Angeles Times, fellow New Yorker artist Edward Sorel...

Untitled naturalistic portrait of BBK. The work is signed by the artist in the bottom corner and the work is not currently framed. Artist Biography: Eyes are a recurring motif in the work of American artist Stanley Clark...

AMERICA'S CUP - 1967. BEAT TO THE FINISH - INTREPID (USA) VS. DAME PATTIE (AUS). “Beat to the Finish” is a 1967 watercolor by Joseph Webster ...

Woman is an original modern artwork realized by the french Artist Florane (1871-1939) in the early 20th Century. Pen and pencil drawing on paper. Signature of the artist on the low...

Neutral tone naturalistic city scene by an unknown artist. The work features a central figure on horseback riding down a village backstreet. The "hostal" street sign overhead indicat...

'Ebren ha Dor, High Cirrus from the South West, September' Original Artwork. Framed ready to hang _________________ The dancing light and rapidly changing skies, hung high above the ...