Men Drawings and Watercolor Paintings

Graphite and grayish ink wash on bluish wove paper, 7 x 10 1/2 inches (177 x 265 mm) (matrix). Scattered surface soiling, adhesive residue, dog-eared corners, and scattered edge tears along left margin, outside of image area. Paper is braced on the verso with two pages from a mid 19th century book with illustrations by C.Perrin. One image depicts a scene of a group of soldiers representing the Holy Roman Empire...

English School Bernard, Self Portrait 1950s Pencil and sepia chalk on paper Image size: 9 1/2 x 13 1/2 inches (24 x 34.3 cm) Handmade contemporary frame This imaginative self-portra...

Theo Meier Thai Beauty Seated female nude Sanguine on paper. Signed and dated upper left. Provenance: Acquired directly from the artist at his home in Chiang Mai, Thailand in 1969...

With elements of surrealism and fantasy, this is a soft pastel painting on toned archival paper. It is part of an ongoing series of work by the artist depicting humorous observations...

Marius de Zayas was born in Veracruz, Mexico and emigrated to New York with his family in 1907. He joined the art staff of the New York Evening World newspaper and quickly became kno...

Cartoon sketch, ca. 1955. Pencil on paper, sheet measures 8.5 x 11 inches. Unsigned with editor's notations. From a group of sketches meant to be preliminary drafts for editor appro...

Erotic scene Work on paper Wooden frame with glass pane 49.5 x 41.5 x 1.3 cm

A colorful modernist portrait of a woman by Bren Bauer (American, 20th-c.), the lines of which are reminiscent of Modigliani. In contrast to the artists use of bold color and movemen...

Amy Londoner Beach at Atlantic City, circa 1922 Signed lower right Pastel on paper Sight 23 x 18 inches Amy Londoner (April 12, 1875 – 1951) was an American painter who exhibited at the 1913 Armory Show. One of the first students of the Henri School of Art in 1909. Prior to the Armory Show of 1913, Amy Londoner and her classmates studied with "Ashcan" painter Robert Henri at the Henri School of Art in New York, N.Y. One notable oil painting, 'The Vase', was painted by both Henri and Londoner. Londoner was born in Lexington, Missouri on April 12, 1875. Her parents were Moses and Rebecca Londoner, who moved to Leadville, Colorado, by 1880. In 1899, Amy took responsibility for her father who had come to Los Angeles from Leadville and had mental issues. By 1900, Amy was living with her parents and sister, Blanche, in the vicinity of Leadville, Denver, Colorado. While little was written about her early life, Denver City directories indicated that nineteenth-century members of the family were merchants, with family ties to New York, N.Y. The family had a male servant. Londoner traveled with her mother to England in 1907 then shortly later, both returned to New York in 1909. Londoner was 34 years old at the time, and, according to standards of the day, should have married and raised a family long before. Instead, she enrolled as one of the first students at the Henri School of Art in 1909. At the Henri School, Londoner established friendships with Carl Sprinchorn (1887-1971), a young Swedish immigrant, and Edith Reynolds (1883-1964), daughter of wealthy industrialist family from Wilkes-Barre, PA. Londoner's correspondence, which often included references to Blanche, listed the sisters' primary address as the Hotel Endicott at 81st Street and Columbus Avenue, NYC. Other correspondence also reached Londoner in the city via Mrs. Theodore Bernstein at 252 West 74th Street; 102 West 73rd Street; and the Independent School of Art at 1947 Broadway. In 1911, Londoner vacationed at the Hotel Trexler in Atlantic City, NJ. As indicated by an undated photograph, Londoner also spent time with Edith Reynolds and Robert Henri at 'The Pines', the Reynolds family estate in Bear Creek, PA. Through her connections with the Henri School, Londoner entered progressive social and professional circles. Henri's admonition, phrased in the vocabulary of his historical time period, that one must become a "man" first and an artist second, attracted both male and female students to classes where development of unique personal styles, tailored to convey individual insights and experiences, was prized above the mastery of standardized, technical skill. Far from being dilettantes, women students at the Henri School were daring individuals willing to challenge tradition. As noted by former student Helen Appleton Read, "it was a mark of defiance,to join the radical Henri group." As Henri offered educational alternatives for women artists, he initiated exhibition opportunities for them as well. Troubled by the exclusion of work by younger artists from annual exhibitions at the National Academy of Design, Henri was instrumental in organizing the no-jury, no-prize Exhibition of Independent Artists in 1910. About half of the 103 artists included in the exhibition were or had been Henri students, while twenty of the twenty-six women exhibiting had studied with Henri. Among the exhibition's 631 pieces, nine were by Amy Londoner, including the notorious 'Lady with a Headache'. Similarly, fourteen of Henri's women students exhibited in the groundbreaking Armory Show of 1913, forming about eight percent of the American exhibitors and one-third of American women exhibitors. Of the nine documented works submitted by Londoner, five were rejected, while four pastels of Atlantic City beach scenes, including 'The Beach Umbrellas' now in the Remington Collection, were displayed. Following Henri's example, Londoner served as an art instructor for younger students at the Modern School, whose only requirement was to genuinely draw what they pleased. The work of dancer Isadora Duncan, another artist devoted to the ideals of a liberal education, was also lauded by the Modern School. Henri, who long admired Duncan and invited members of her troupe to model for his classes, wrote an appreciation of her for the Modern School journal in 1915. She was also the subject of Londoner's pastel Isadora Duncan and the Children: Praise Ye the Lord with Dance. In 1914, Londoner traveled to France to spend summer abroad, living at 99 rue Notre Dames des Champs, Paris, France. As the tenets of European modernism spread throughout the United States, Londoner showed regularly at venues which a new generation of artists considered increasingly passe, including the annual Society of Independent Artists' exhibitions between 1918 and 1934, and the Salons of America exhibition in 1922. Londoner also exhibited at the Morton Gallery, Opportunity Gallery, Leonard Clayton Gallery and Brownell-Lambertson Galleries in NYC. Her painting of a 'Blond Girl' was one of two works included in the College Art Associations Traveling Exhibition of 1929, which toured colleges across the country to broad acclaim. Londoner later in life suffered from illnesses then suffered a stroke which resulted in medical bills significantly mounting over the years that her old friends from the Henri School, including Carl Sprinchorn, Florence Dreyfous, Florence Barley, and Josephine Nivison Hopper, scrambled to raise funds and find suitable long-term care facilities for Londoner. Londoner later joined Reynolds in Bear Creek, PA. Always known for her keen wit, Londoner retained her humor and concern for her works even during her illness, noting that "if anything happens to the Endicott, I guess they will just throw them out." Sprinchorn and Reynolds, however, did not allow this to happen. In 1960, Londoner's paintings 'Amsterdam Avenue at 74th Street' and 'The Builders' were loaned by Reynolds to a show commemorating the Fiftieth Anniversary of the Exhibition of Independent Artists in 1910, presented at the Delaware Art Center, Wilmington, DE. In the late 80's, Francis William Remington, 'Bill Remington', of Bear Creek Village PA, along with his neighbor and artist Frances Anstett Brennan, both had profound admiration for Amy Londoner's art work and accomplishments as a woman who played a significant role in the Ashcan movement. Remington acquired a significant number of Londoner's artwork along with Frances Anstett Brenan that later was part of an exhibition of Londoner's artwork in April 15 of 2007, at the Hope Horn...

The "ink" in this artwork is derived form beets. The imagery is derived from life... :: Drawing :: Contemporary :: This piece comes with an official certificate of authenticity signe...

Untitled Still Life, 2014 Graphite on paper 17.4 x 20.85 / 44 x 53 cm Nikos Kanarelis was born in Athens, Greece in 1975 where he now lives and works. Βetween 1999 and 2004 he s...

Original collage composed of realistic graphite drawing on old nautical chart of a large rowboat. Signed lower right . Dedicated to Dr. Kerr, a Hamptons doctor. Condition is very ...

Rudolf SCHLICHTER (1890-1955) Shirtless man, shouting, circa 1920 India black ink on paper 43,2 x 28,4 cm provenance : artist's family Rudolf Schlichter was born in Calw in 1890. He...

This compelling graphite drawing on paper by Verona Burkhard (1910–2004) showcases a dynamic figure on horseback, rendered with expressive linework and a keen sense of movement. Likely created as a preliminary study for a larger mural, this untitled composition reveals Burkhard’s skill in capturing form, gesture, and energy through the subtle control of graphite. Executed with a confident hand, the sketch offers insight into the creative process of one of America’s notable WPA muralists, making it a rare and collectible piece of American art history. The drawing is presented in a custom archival frame for long-term preservation and elegant display. Framed dimensions: 29 ¾ x 22 ¾ inches, image size: 23 ½ x 16 ¼ inches About the Artist: Verona Lorraine Burkhard Verona Burkhard was an accomplished American artist, muralist, and educator, best known for her vibrant contributions to the WPA (Works Progress Administration) mural program and for shaping the Western Colorado art community. Born in 1910, Burkhard studied at the Art Students League in New York under Boardman Robinson and at Columbia University with Frank Mechau...

Signed, titled, and dated, verso India ink and watercolor on paper This work is offered by ClampArt in New York City.

Created circa 1955 by Victor Di Gesu (American, 1914-1988) and stamped verso with certification of authenticity. Winner of the Prix Othon Friesz, Victor di Gesu first attended the ...

This ink drawing illustrates a horse race at the Detroit Race Course in Livonia, Michigan. Ink on paper, dated 1992. 25.5 x 25.5, Framed. Signed by Artist....

Helmeted man 1" drawing for NASA - Raymond Loewy and William Snaith Space station - Habitability study On paper 16 February 1969 42x35 490€

This captivating charcoal drawing depicts the upper half of a nude African American woman adorned with a wrapped headscarf. The contrast between the delicate curves of her bare shoul...

Figure Studies Attriubted to Cornelis Schut (1597 - 1655) Flemish ink drawing on paper, inscribed on mount size: 4.75 x 7 inches private collection, France The painting is in overa...

The present work exhibits a storytelling and illustration art style created before the mass communications age. It was rendered in a flat linear style by the highly talented Maginel ...

Frederick Bosley was an Impressionist painter of the Boston School who most often depicted portraits, figures and still-lifes. The artist was born in Lebanon, New Hampshire in 1881. He studied at the Museum School in Boston from 1900-1906 with Edmund C. Tarbell (1862-1938) and Frank W. Benson (1862-1951), and then in Europe from 1906-1908. Bosley returned to Boston in 1909, obtaining a studio at the Fenway Studios from 1909-1918. He was to become a teacher in his own right, settling as Director at the Museum School from 1913-1931. His many awards include First prize in the 1920 Concord Art Academy Exhibition and a Gold Medal in the Pennsylvania Academy of Fine Arts Exhibition, 1925. His work may be found in the collections of several institutions, including the Boston Museum of Fine Arts, the Farnsworth Museum, the National Academy of Design and the Concord Academy...

Feminine Mistique, ink on archival paper. Keith Carrington’s experiences have led him to express his talents through the fluid & exacting mediums of watercolor and ink. He has honed...

Medium: Charcoal on Board Signature: Signed Upper Left Sight Size 20.00" x 28.00;" Framed 24.00" x 32.00"

De Lappe, Pele (American, 1916-2007). DANCE MARATHON. Pencil, 1935. Signed in pencil. 13 7/8 x 9 7/8 inches. In very good condition, except for minor creases at the top and bottom ri...

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...

Oil on canvas Image size: 24 x 20 inches (61 x 51 cm) Original silver frame With her back turned to us, the viewer look across to a female artist facing us, whose gaze is fixed on t...

Wilhelm Trübner (1851 Heidelberg - 1917 Karlsruhe), Female Nude Sitting on a Sofa, around 1900. Pencil drawing, 32.5 x 48.5 cm, monogrammed “W.T.” lower left and inscribed on the rev...

Jim's of Lambertville Fine Art Gallery is proud Albert Hirschfeld (1903 – 2003) At the age of 12, Albert Hirschfeld, the famed caricaturist who depicted figures in the New York theater...

This is an original drawing by Virgil Ross featuring Bugs Bunny, Rocky, and Mugsy, likely from the classic looney tunes cartoons. Graphite, colored pencil on animation paper. Untrimm...

Stephen Namara's work is a testament to technical mastery and emotional depth. His artistic execution showcases a level of skill that is both rare and commanding. His ability to rend...

Stella, Joseph. STUDY OF A MAN WITH A HAT AND OVERCOAT. Blue, red and black crayon on tan wove paper, c. 1920. 6 7/8 x 4 3/4 inches; 173 x 120 mm. Signe...

Vogue USA, Fashion Illustration. Meticulously drawn in a descriptive and yet creative way. Antonio's full mastery of his art is on full display...

Charles Spencelayh 1865-1958 British The Buttonhole Signed “C.SPENCELAYH” (lower left) and inscribed “This Drawing was accepted into the Royal Academy but crowded out for want of ...

ritz Aigner (1930–2005) war ein österreichischer Maler und Grafiker, geboren und gestorben in Linz. Er studierte an der Akademie der bildenden Künste in Wien und wurde früh mit dem S...

A Very Finely Drawn 1930s Modern Portrait Figure Study of a Young Male Model by Notable Chicago Modern Artist, Harold Haydon (Am. 1909-1994). An early charcoal drawing by Haydon sh...

Artist: Ian Hornak (1944-2002) Title: Renaissance Male Nude Figure Study Year: circa 1963 Medium: Original drawing on vélin paper Size: 23 x 18 inches Condition: Good Provenance: Est...

WPA Post Office Mural Study American Scene Regionalism Social Realism Louise Emerson Ronnebeck (1901 - 1980) Oil Riggers, Mural Study Image: 6 1/2 x 37 inches Watercolor and egg tem...

A Fine 1930s, Modern Academic Figure Study Drawing of a Seated Male Nude Model by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). An exceptionally well executed early 1930s c...

Scottish artist Patsy McArthur explores the grace and power of human movement in her naturalistic drawings and paintings. Her latest works, including small ink studies, charcoal and ...

"In the Artist's Studio" was painted in the realistic style in the late 19th century by the Scottish artist, George Clark Stanton. Stanton was a painter, watercolorist, goldsmith and...

Medium: Ink, Watercolor, Gouache on Paper laid to Paperboad Signature: Inscribed Collier's Cover Weekly/Sept. 1914/Belgian Automobile Troops/Fighting German Dragoons (on the reverse)...

'Portrait of Boy in a Chair', gouache on art paper, by Raymond Debiève (circa 1960s). Here the artist paints a young boy, very probably his son, Vincent, sitting in a chair posing fo...

Anonymous. "SMITHEREENS" ORIGINAL ART FOR AN ALFRED E. SMITH CAMPAIGN POSTER. Circa 1920. Ink drawing with white highlighting. 20 x 22 inches, in an early fra...

Medium: Watercolor and Ink on Paper Dimensions: 22.50" x 16.00 Signature: Unsigned

Dramatic imagery from FILM NOIR series of black and white monotypes, blending surreal mindscapes with stark realism About Tom Bennett: With quick brushstrokes, Tom Bennett creates r...

A Fine 1930s Modern Academic Figure Study Drawing, Seated Male Nude Model (Back) by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). An exceptionally well executed early 1930s...

Dramatic imagery from FILM NOIR series of black and white monotypes, blending surrealistic mindscapes with stark realism About Tom Bennett: With quick brushstrokes, Tom Bennett crea...

A Fine 1930s, Art Deco Modern Academic Figure Study Drawing of a Standing Male Nude Model by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). An exceptionally well executed ea...

Signed and inscribed on a label on the verso: No. 1/ The Argument/ W. Cave Thomas/ 203 Camden Rd/ NW Provenance: Christie’s, London, 6 November 1995, lot 88. Private Collection, London. This powerful watercolor is a mature work by the little-known Victorian painter William Cave Thomas...

Rembrandt van Rijn 1606-1669 Dutch Jan Lutma, The Goldsmith Etching, engraving, and drypoint on paper New Hollstein’s second state of five Signed and dated “Rembrandt / F. 1656” (...

A very finely painted watercolour study of the New Zealand equestrian Blyth Tait. Ready Teddy was an eventing horse competitively ridden by Blyth. Together the pair competed in three...

Painted on location in August 2020 at Lake of Liepnitz near Berlin. :: Painting :: Fine Art :: This piece comes with an official certificate of authenticity signed by the artist :: R...

Ricard Opisso - Bar - Colored pencils Measurements drawing 11x13cm. Frame measures 35x37 cm. 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, Manuel Hugué, Isidre Nonell...

Hugo Gellert (Hungarian-American, 1892-1985), Study for "The New Masses". Mary Ryan Gallery 4. Signed in ink lower left: "Hugo / Gellert"; inscribed in crayo...

Couple putting on theatrical make-up for summer theatre Cover of American Weekly Magazine, June 20, 1954 Dimensions: 19.75 x 16.00 in. Medium: Gouache and Watercolor on Paper Signa...

Framed in black measuring 31 x 28 inches total. Whether obscured by the smoky nightclub lighting or enlivened by the strong color of the Mardi Gras dancers, David Remfry’s life-size...

Born in Winamac, Indiana in 1905, painter, illustrator and commercial artist Elba Louisa Riffle studied at the John Herron Art Institute and School of Art and Design. Riffle was a me...

Mid Century French Portrait Josine Vignon (French 1922-2022) Medium: Pencil on artists paper, double sided Size: 9.5 height) x 7.5 (width) Stamped Verso Condition: Good Provenance:...

Johnson, Lester (American, 1919-2010). MEN IN BOWLER HATS. Drawing, watercolor, wash, and pastel on paper, 1973. Signed, lower right. 26 1/2 x 40 1/2 inches...