Cartoon Drawings and Watercolor Paintings

Very stylish, unique and original 1940's fashion design by French illustrator Geneviève Thomas. The painting, executed in gouache and pencil. The sketch is original, vintage and me...

ANDRE AMSTUTZ (1925-2015) Blending into the Landscape Signed l.l. Oil on board Framed 29.5 by 23 cm., 11 ½ by 9 in. (frame size 45.5 by 38 cm., 18 by 15 in.) Reproduced: Guinnes...

Melissa Chalhoub, a 2014 graduate of Saint Joseph University in Beirut, seamlessly navigates the realms of cinema and visual art. With a background in directing and sound design for ...

Bricklayers House Beautiful Cover Proposal American Scene Modern WPA 1930s Industrial Workers Antonio Petruccelli (1907 - 1994) Brick Layers House Beautiful cover proposal, c. 1939 ...

Die moralische Eifersucht  is a contemporary artwork realized by Friedrich Schröder Sonnenstern in 1964. Pencil and colored chalks on Schoellershammer cardboard. Signed "F. S. SONN...

The present work by pioneering female artist Helen Dryden was most likely a cover assignment for Vogue Magazine. It is deftly rendered in a tight linear art nouveau style with flat c...

JOHN DRONSFIELD (1900-1951) Costume Design Watercolour and pen and ink Unframed, in mount only 34 by 24 cm., 13 1/2 by 9 ½ in. (mount size 47.5 by 37 cm., 18 3/4 by 14 1/2 in.) J...

Price and size includes frames (maple wood with white mats). Artwork 58" x 38" Her pastel-on-sandpaper series, "Domestic Threats" and "Black Paintings", both use cultural objects as surrogates for human beings acting in mysterious, highly charged narratives.[9][10] Rachko also has created a series of photographs entitled "Gods and Monsters".[11] In these chromogenic prints, she is "painting with a camera," creating variations that free the camera from being a mechanical recording device of what lies before it. She prints all of these images by hand. The earlier "Domestic Threats" pastel-on-sandpaper paintings used her West Village apartment or her 1932 Sears house in Virginia as a backdrop. The "Black Paintings" series grew directly from "Domestic Threats". In the "Black Paintings," the figures (actors) take center stage. All background details, furniture, rugs, etc. have been eliminated and replaced by intense dark black pastel. Each painting takes months to complete as she slowly builds up as many as 30 layers of soft pastel. Her long-standing fascination with traditional masks progressed in the spring of 2017 when she visited the National Museum of Ethnography and Folklore in La Paz, Bolivia where one exhibition included more than fifty festival masks. The resulting series is entitled “Bolivianos”.[12] She has also written an e-book, From Pilot to Painter[13] and writes a regular blog, Barbara Rachko...

Smashing Success! Mixed media on paper, black sequins, watercolor, ink 22x30 Keith Carrington’s experiences have led him to express his talents through the fluid & exacting mediums...

María Conejo’s proposal consists of a series of oil paintings and ink drawings that offer a profound and intimate exploration of the emotions within us. The artworks depict an anatom...

"Harry has no interest in mundane pleasures." Enter the mind of a mid-century American/ Canadian Artist. The theme of Artist and Model has been used for centuries but Richard Taylor ( R. Taylor ) clearly has his own humorous style. The Taylor girl is easily recognizable with oversized heavy-lidded oval eyes and curvaceous body shapes. Taylor is in the Charles Addams...

This artwork by Robert Risko is offered by CLAMP in New York City. Jodie Foster Signed Mixed media 18 x 13.75 inches (45.7 x 34.9 cm), image

Project for an advertising poster of Facis, from the 1980s. Technique: drawing with colored pencils, markers, with collage applications. Facis is a pret-a-porter company from Turin. This project is created during the collaboration of Marco Silombria...

Contemporary tempera on canvas painting by Polish artist Anna Wardega. Artwork depicts three women squatting to wet their hands in a reservoir. Women's clothing is very vibrant and i...

Prakash Karmakar – Landscape – 36 x 57 inches (unframed size) Acrylic on Canvas Signed lower right in Bengali Inclusive of shipment in roll form. Karmakar is best know...

Airbrush Illustration on paper Signed Risko lower right Blindstamp Upper Right Published: Vanity Fair Magazine Unframed

Airbrush Illustration on paper Signed Risko lower right Blindstamp Upper Right Published: Vanity Fair Magazine Unframed

Medium: Watercolor over Graphite on Illustration Board Dimensions: 13.75" x 19.75" Signature: Signed Lower Left Patrick Block "Donald Duck and the Golden Helmet...

Art Sz: 17"H x 11 3/4"W Alexander Warren Montel (1921-2002)

Two Knights

Gisella Loeffler "The Necklace and the Pot" c. 1919 Gouache on Paper Initialed Lower Left Framed Size: approx 15 x 15 inches In a village filled with colorful characters, few Taos artists were as colorful as Gisella Loeffler [1900-1977]. From her handmade Austrian clothing and hand-painted furniture to whimsical paintings and letters written in multicolored crayon, joyful color defined the artist, who early on chose to use simply Gisella as her professional name and was known as such to everyone in Taos. 

In spite of her fame there—the Taos News once labeled her a Taos legend—Gisella is rarely included in scholarly discussions of the Taos Art Colony. This oversight is likely due to the naive quality of her work, in which children or childlike adults inhabit a simple, brightly colored world filled with happiness. The macabre, the sad, the tortured, the offensive—all have no place in Gisella’s paintings. Her naive style of work looks very different from that of the better-known early Taos artists. Yet both Gisella’s artwork and her interesting life command attention. Born in Austria, Gisella came to the United States with her family in 1908, settling in St. Louis, MO. After studying art at Washington University in St. Louis, she became a prominent member of the local art community, joining the St. Louis Art Guild as well as the Boston Society of Arts and Crafts. In addition to creating posters for the St. Louis Post Dispatch, Gisella won prizes from the Artists Guild of the Author’s League of America in 1919 and 1920 and from the Kansas City Art Institute in 1923. She also began working in textiles, including batik, to which she would return later in her career.  In the early 1920s Gisella married writer and music critic Edgar Lacher. A difficult character, Lacher may have chafed under Gisella’s success, for the couple divorced in the 1930s. Having seen a local exhibition of paintings by Taos artists Oscar Berninghaus (who was from St. Louis) and Ernest Blumenschein, Gisella felt drawn to Taos, which reminded her of the villages of her native Austria. In 1933 the single mother with two daughters, Undine and Aithra, moved to Taos, where she lived off and on for the rest of her life. She traveled frequently, spending extended periods in Mexico, South America, and California, but always returned to New Mexico. Gisella initially applied an Austro-Hungarian folk-art style to the Indian and Hispanic subjects that she found in New Mexico. In her early work she covered her surfaces with decorative floral and faunal motifs, and her images were flat with no attempt at rendering traditional one-point perspective. Eventually, though, Gisella developed her own style, often using children or childlike figures as subjects. Still, the influence of her native country’s folk art remained evident in her New Mexican, Mexican, and South American images. In 1938 Gisella moved briefly to Los Griegos, north of Albuquerque, to be closer to medical facilities for her eldest daughter, who was suffering from rheumatic fever. Two years later, she moved to California to participate in the war effort, painting camouflage and decals on airplanes for Lockheed. In California, Gisella broadened her range of artistic pursuits. She taught art privately, created illustrations for Scripts Magazine, and did interior design for private homes. She also designed greeting cards, a practice she continued after her return to New Mexico, where she created a series of Christmas cards.  Gisella began illustrating children’s books in 1941 when she collaborated on Franzi and Gizi with author Margery Bianco. Eventually she wrote and illustrated her own book, El Ekeko, in 1964. She also designed ceramics—her Happy Time Dinnerware, marketed by Poppy Trail...