Portrait Drawings and Watercolor Paintings

Manfred Schwartz (American, b. Poland, 1909-1970), Portrait of a Man, Charcoal on Paper, with the artist's signature stamped lower left, unframed. 20" H x 25.5" W. Provenance: From a...

Bedside Moonlighting - 31-08-20 On the Bedside My model and I were looking for intesting poses and on the bedside there it was: a beautiful one with some interesting lighting. So...

This pastel portrait captures the side profile of a young African American man dressed in a black hoodie. The artist skillfully employs the pastel medium to bring out the rich textur...

The identity of the artist who created this excellent charcoal study remains unknown. The model's outfit and the arrangement of her hair suggest a bygone era, possibly a study for a ...

Raymond Debieve (1931-2011) Born in northern France as a twin to brother Michel Debieve (who also become an accomplished artist later in life), Raymond painted his entire life. His ...

The portrait shows Mme Silvestre. Born in Paris, Silvestre was the daughter of Charles-Antoine Hérault and his wife Marie-Geneviève, who were her first teachers. In 1706 she married the painter Louis de Silvestre, moving with him in 1716 to Dresden. The couple's daughter Marie-Maximilienne became a pastellist. Silvestre died in Dresden, the year before her husband retired and returned to Paris. Her surviving pastels show the influence of Rosalba Carriera...

Portrait of Laurence Wedgwood by unknown artist. Pencil on paper, sheet measures 8 x 10 inches; 11 x 13 inches in ca. 1910 frame. Foxing to sheet, no staining or loss. No conserva...

Charcoal on paper, signed and dated '1888' bottom right Image size: 9 x 7 1/2 inches (22.75 x 19 cm) Period frame The half-length portrait depicts the subject sat, wearing a white s...

French School, Portrait of a Lady, Rococo, 18th Century, Fine drawing in Pastel/ Oil Pastel on Paper in the style of Vivien. The Lady might be a woman from Marie Antoinette's Court. It is part of a Pendant (see the other listing with the portrait of Queen Marie Antoinette...

This striking charcoal portrait captures the essence of an African American woman with a unique black and white afro. The monochromatic medium emphasize...

Untitled (Musician with clarinet) Watercolor on paper, c. 1844 Created on J Whatman Turkey Mill Watermarked paper Signed lower left: Gavarni (see photo) Condition: very fresh colors ...

Date: 1934 Medium: Charcoal on Paper Dimensions: 34.00" x 25.00" Signature: Signed Lower Right Story illustration: Elegant couple considers floor plan drawn in the sand. “Benda finished explaining the house plan she had drawn in the sand. ‘But, Benda,’ Don said, examining it, ‘the place is not complete. Haven't you forgotten something?’ ‘That's all... I'm sure... Don,’ she answered softly.” Story illustration: “Between the Owl's Nest and a Rift in the Clouds”, author: Clara Hood Rugel, Good Housekeeping...

This beautiful original graphite illustration is framed at 15 x 18 inches, and is finished and ready to hang. About the Artist: Stanley Rayfield realized his love for art early in ...

Pen and ink, ink wash and pencil on paper, signed and dated (lower right), 38cm x 29cm (65cm x 55cm framed). This penetrating and wonderfully executed self-portrait, is all the mor...

Sir Thomas Lawrence PRA 1769-1830 Portrait of a Young Officer Pastel with touches of black chalk on paper Signed and inscribed on an old label verso: "Be pleased to keep away / from the Damp & from dust / T Lawrence AE 13. / 1783." Wash mount and gilt frame Provenance W.E. Spooner; Anonymous sale, Phillips London, 17 April 2000 lot 196 Sothebys, Old Master & Early British Paintings, 14 April 2011 • London Lot 246 Old label verso describes how this was drawn in 1783 at the age of 14! This is a portrait of an officer from the Irish Volunteers. The Irish Volunteers was a part-time military force raised by local initiative in Ireland in 1778. Their original purpose was to guard against invasion and to preserve law and order at a time when British soldiers were withdrawn from Ireland to fight abroad during the American Revolutionary War. As a young boy Thomas Lawrence lived with his parents who ran a coaching inn near Bath. Clearly talented from this young age, he drew the passing travellers who stopped at the inn and this soldier may have been one such sitter. Lawrence was only 13 years old when he drew this work. To capitalise upon their son's talents, the family later moved to Bath and sent Lawrence to London in 1787 where he entered the Royal Academy schools at the earliest possible age. Works from such an early period of Lawrence's creativity are rarely to be found today. This rare early portrait drawn in Bath shows the level of technical skill that Lawrence had reached at 14 years old. His use of colour and tone to depict flesh and all the subtle variations in the texture and pigmentation of his sitter’s face, powdered hair and clothes show how Lawrence conceived pastel as a form of painting and partly explains how he could have made the smooth transition to oil painting so soon afterwards. When he arrived in Bath from Devizes in 1780, eleven-year-old Thomas Lawrence (1769–1830) was promoted as a natural-born genius like his Renaissance predecessor Raphael. The local press announced the arrival of the boy wonder and his ‘Striking Sketches’, inviting the ‘Nobility and Gentry’ to sit for their portraits. Thomas Lawrence was a prodigious portraitist from the age of just eight, when he began to draw his first portraits in pencil...

A delicate and precise study of Raphael's *Madonna of the Fish* (1513) in graphite. Affixed to a blue paper backing. Unsigned. On laid paper.

Portrait. 1966. watercolor on paper, 35.5x30 cm Dzidra Ezergaile (1926-2013) Born in Riga. School years alternate with summer work in the countryside...

Drawing Pencil on paper, 17.7 x 26.7 inch; with gilded frame 28.3 x 37 inch The scene is set on the seashore, in the part were the stormy sea is licking the land, made of a rocky an...

Winold Reiss (1886-1953), who scholars increasingly recognize as a pivotal figure in early 20th-century American art, is known for his evocative portraits that capture the spirit and...

European School Late 18th Century Portrait of a Lady Pastel on paper, mounted on canvas Image size: 28 x 23 inches Contemporary style frame Provenance: Ernst Museum Auction This pastel portrait of a lady dates from the late eighteenth century. She is pictured in a white muslin dress...

Rosanna Gaddoni (Italian artist) The Fawn 50 x 43 cm ( framed in wood frame with museum glass) Measurement with included frame: 62 x 55 x 3 cm Charcoal on Paper The Italian artist R...

Edith Bonney Franklin (American, 1881-1954) Child with Ball and Toy Rabbit, 1927 4 1/4 x 3 inches FRAMED: 5 1/4 x 4 inches Signed and dated at lower right: "EBFranklin/1927" [EBF mon...

Pastel on paper on canvas, initialled lower left "ND" Image size: 13 ¾ x 22 ½ inches (35 x 57 cm) Gilt frame This fine Art Nouveau picture executed around 1900, depicts an auburn ha...

This artwork "Otavalo Woman" 1965 is a color pastel on paper by Ecuadorian artist Arturo Nieto Checa, 1933-1995. It is signed and dated at the lower right...

Medium: Drawing Signature: Signed Lower Right Contact for dimensions.

19th Century Street Art - British children's book author and illustrator Edith Farmiloe depicts a waif-like girl - Cockney Gutter Imp - who is disheveled. The artist draws her i...

Medium: Charcoal, Pastel, and Watercolor on Board Signature: Signed Lower Right Sight Size 18.75" x 15.25;" Framed 27.50" x 15.25" circa 1920 Girl with Braids...

Beautiful WWII era portrait of a young man by Louis Krupp (1888-1978). Charcoal on paper measures 16.5 x 22.5 inches, 25 X 30 IN MATTING. Signed and dated...

Charcoal , signed lower right and dated 'Paris 1935' Image size: 25 x 19 inches (63.5 x 48 cm) Original oak frame An accomplished example of Russian art from the mid 20th century. ...

This work features a photographic portrait of Helen Frankenthaler, taken by renowned musician and photographer Jim Arkatov, founder of the Los Angeles Chamber Orchester, and author of the 1998 book "The Creative Personality". The photograph is hand signed and dated '92 by Jim Arkatov. Framed alongside the photograph is a typed letter, hand signed in marker with a personal annotation ("Thanks again!!") by Helen Frankenthaler, thanking Mr. Arkatov for sending her glossy prints of his photograph and stating that she looks forward to seeing his book. Arkatov's original signed portrait, along with Frankenthaler's original signed letter, are elegantly framed in a museum quality wood frame under UV plexiglass. There is also a die-cut window in the back of the frame to reveal Arkatov's signature on the back of his photograph. Measurements: Framed 14.25 inches (vertical) by 19.75 inches (horizontal) by 1.75 inches (depth) Photographic portrait of Helen Frankenthaler: 9.25 inches (vertical) by 7.25 inches (horizontal) Letter from Frankenthaler to Arkatov: 7 inches (vertical) by 6.25 inches (horizontal) This collection was acquired from the Estate of Jim Arkatov. Below is an excerpt from his 2019 obituary in the Los Angeles Times: "...His was an immigrant’s story, a child from Russia who landed in San Francisco, befriended violinist Isaac Stern — whose fame was still to come — took up the cello and decided to pour his life into making music. James Arkatov found work with the Pittsburgh Symphony Orchestra and then with the philharmonic in San Francisco before coming to L.A. as a Hollywood studio musician who worked on movie soundtracks and backed up Ella Fitzgerald on some of her more memorable recordings, such as “Ella Fitzgerald Sings the George and Ira Gershwin Song Books.” Amazed at the dazzling talent around him in Hollywood, he came up with a simple but lasting idea — form their own orchestra. The Los Angeles Chamber Orchestra made its debut on an April evening in 1968, as hundreds squeezed into the newly built Mark Taper Forum. Arkatov played cello as usual as the ensemble drifted through the works of Mozart, Vivaldi, Haydn and other legends of the classics who’d written music specially for smaller orchestras. Arkatov, who lived long enough to see the orchestra celebrate its 50th anniversary, died Saturday at his home in Los Angeles. He was 98. “The orchestra represented a contextualized part of L.A. that had simply never been captured,” said his son, Alan Arkatov, the chair of the education and technology program at USC’s Rossier School of Education. “L.A. simply didn’t have this type of ensemble.” Arkatov was born in Odessa, Russia, on July 17, 1920, and moved around Europe before sailing with his family to San Francisco, where his father opened a photo studio. One of his early childhood friends was Stern, who would become an international star who performed on the world’s biggest stages. Arkatov, who began playing the cello when he was 9, formed a string quartet with Stern when they were teens. After stints as a cellist in San Francisco, Pittsburgh and Indianapolis, Arkatov became a member of the NBC Orchestra, the studio musicians who supplied the soundtracks for the movies that kept Hollywood humming. Pulling from the talent of Hollywood like an NFL team on draft day, he cobbled together a roster capable of handling the delicate and nuanced music written for chamber orchestras. In contrast to the L.A. Phil, which filled the stage with 100 or so musicians, the chamber orchestra was but half that size. The idea was to create a group that would play works written expressly for such an orchestra, many of them from the Baroque era. “The ensemble was never meant to compete with the Philharmonic,” Arkatov’s son said...." Helen Frankenthaler Biography: Helen Frankenthaler (1928-2011), whose career spanned six decades, has long been recognized as one of the great American artists of the twentieth century. She was eminent among the second generation of postwar American abstract painters and is widely credited for playing a pivotal role in the transition from Abstract Expressionism to Color Field painting. Through her invention of the soak-stain technique, she expanded the possibilities of abstract painting, while at times referencing figuration and landscape in unique ways. She produced a body of work whose impact on contemporary art has been profound and continues to grow. Frankenthaler was born on December 12, 1928, and raised in New York City. She attended the Dalton School, where she received her earliest art instruction from Rufino Tamayo. In 1949 she graduated from Bennington College, Vermont, where she was a student of Paul Feeley. She later studied briefly with Hans Hofmann. Frankenthaler’s professional exhibition career began in 1950, when Adolph Gottlieb selected her painting Beach (1950) for inclusion in the exhibition titled Fifteen Unknowns: Selected by Artists of the Kootz Gallery. Her first solo exhibition was presented in 1951, at New York’s Tibor de Nagy Gallery, and that year she was also included in the landmark exhibition 9th St. Exhibition of Paintings and Sculpture. In 1952 Frankenthaler created Mountains and Sea, a breakthrough painting of American abstraction for which she poured thinned paint directly onto raw, unprimed canvas laid on the studio floor, working from all sides to create floating fields of translucent color. Mountains and Sea was immediately influential for the artists who formed the Color Field school of painting, notable among them Morris Louis and Kenneth Noland. As early as 1959, Frankenthaler began to be a regular presence in major international exhibitions. She won first prize at the Premiere Biennale de Paris that year, and in 1966 she represented the United States in the 33rd Venice Biennale, alongside Ellsworth Kelly, Roy Lichtenstein, and Jules Olitski. She had her first major museum exhibition in 1960, at New York’s Jewish Museum, and her second, in 1969, at the Whitney Museum of American Art, followed by an international tour. Frankenthaler experimented tirelessly throughout her long career. In addition to producing unique paintings on canvas and paper, she worked in a wide range of media, including ceramics, sculpture, tapestry, and especially printmaking. Hers was a significant voice in the mid-century “print renaissance” among American abstract painters, and she is particularly renowned for her woodcuts. She continued working productively through the opening years of this century. Frankenthaler’s distinguished, prolific career has been the subject of numerous monographic museum exhibitions. The Jewish Museum and Whitney Museum shows were succeeded by a major retrospective initiated by the Modern Art Museum of Fort Worth that traveled to The Museum of Modern Art, New York, the Los Angeles County Museum of Art, and the Detroit Institute of Arts, MI (1989); and those devoted to works on paper and prints organized by the National Gallery of Art, Washington, D.C. (1993), among others. Select recent important exhibitions have included Painted on 21st Street: Helen Frankenthaler from 1950 to 1959 (Gagosian, NY, 2013); Making Painting: Helen Frankenthaler and JMW Turner (Turner Contemporary, Margate, UK, 2014); Giving Up One’s Mark: Helen Frankenthaler in the 1960s and 1970s (Albright-Knox Art Gallery, Buffalo, NY, 2014–15); Pretty Raw: After and Around Helen Frankenthaler (Rose Art Museum, Brandeis University, Waltham, MA, 2015); As in Nature: Helen Frankenthaler, Paintings and No Rules: Helen Frankenthaler Woodcuts...

Gertrude Braud 19th Century Watercolour on paper, entitled on original backing paper Image size: 11 x 16 1/2 inches (28 x 42 cm)

Charcoal and grey wash on paper Image size: 14 3/4 x 13 3/4 inches (37.5 x 36 cm) Hand made gilt frame Provenance Private collection, Washington DC. C.G. Sloan & Co., Sept. 1980. T...

Clairobscur – 06-10-20 Clairobscur In 2013 I started this clairobscur lit nude and tucked it in one of pastel maps, only to forget about it for years and years. I remembered I was not quite satisfied by the color saturation and the color scheme itself. It leaned too much on the red and purple side. Besides that, the proportions were slightly off. Mishaps If you become curious right now, I have a whole bag of mishaps loitering about. It is one of the long and winding roads an artist has to take, especially when frantically looking for a style to call my own. In the meantime this kind of impressionism in hatched strokes I did a lot but once in a while it is fun to take it up once again. In fact posting ‘Pastel Study 04 (2013)’ reminded me to finish this one. Second Chance Sometimes you have to give a pastel a second chance or in other worlds...

Watercolour on paper, signed and dated '1870' lower left Image size: 5 x 6 1/2 inches (13 x 16.5 cm)

Violet Oakley (1896-1961). Portrait of a Baby, ca. 1930. Conte crayon and pencil on laid paper, sheet measuring 11 x 14 inches. Framed measurement: 13.5 x 16.5 inches. Signed low...

An uncanny and unexpected pose characterizes this work as Julius Ceasar warily looks over his shoulder and blood-stained toga. Signed lower right "M. Gl...

Albert Charles Dequene Fouta Djallon woman with crest headdress Pastel on paper, signed lower right & dated '32' Image size: 19 3/4 x 18 inches (50 x 46 cm) Hand made ebonised and gi...

Title: Charcoal Portrait of a Man in a Beret Artist: Josine Vignon (French 1922-2022) Medium: signed black charcoal on artists paper stuck on board, glass covered Size: 7.5 (heigh...

French School 19th Century Portrait of a Lady Coloured chalks on paper Image size: 10 x 7 inches Contemporary gilt frame

Title: Coloured Portrait Of Smiling Man In Flat Cap On Toned Paper By Tony Herbert (1927-2024) Medium: Mixed media (pen, ink, and coloured marker/pencil) on toned paper, unframed Siz...

Title: Vintage Gouache Painting Of Boy With Milk Bottle In Mid-Century School Setting By Tony Herbert (1927-2024) Medium: Gouache on toned paper, unframed Size: 11.25 inches (height)...

Dramatic mixed media painting of a regal head by the well known American artist, Josef Presser. Circa 1960. Signed lower right. Composed of watercolor and oil pastel on archival paper. In very good condition; no issues. Beautifully professionally matted and framed in a one and half black matte finished frame. Overall measurements with frame 18.25 by 16 inches. Biography Josef Presser Josef Presser was born in Lublin, Poland. He studied at the Boston Museum of Fine Arts School, in Europe, and with Bryant Baker...

Carl Haag 1820 - 1915 One of the Howling Dawashes in Cairo Watercolour on paper, signed lower right & dated 1880 Image Size: 10 5/8 x 7 3/4 inches (27 x 19.5 cm) Original Frame 'One...

Julien Leopold BOILLY Paris 1796-1874 Portrait of a man First third of the 19th century Pierre noire Signed on the right 23,5 x 17 cm 38 x 29 cm framed Small stains

Paul Meltsner Factory Boy with Locomotive, circa 1935 Signed lower left Watercolor on paper 23 3/4 x 19 1/2 inches Paul Meltsner sold his first painting when he was eight years old...

Charming pen & ink framed sketch depicting Mr Max Beerbohm (1872-1956) taking advantage of the English climate and amusing himself w/ a box of paints. S...

This portrait depicts a distinguished gentleman elegantly attired in a black suit and hat, holding a walking stick. Signed "J.M.W." and dated to the lower left. Well presented in a b...

Signed bottom left by H. Reisner. Charcoal with white heightening on grayish brown wove paper, 22 3/8 x 15 1/2 inches, the full sheet. Signed in black crayon in the lower left margin...

A pencil study of a young nude satyr playing a flute. He is leaning against a tree, which is draped with an animal skin. This iconographic type is found in numerous exemplars; howeve...

'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...

Set against a dark background, an elderly woman with weathered features returns the viewer's gaze in this characterful watercolour portrait by the poster artist John Hassall. Signed ...

Sandu Liberman (1923-1977) Untitled, c. mid-20th century Watercolor on paper Sight: 13 1/4 x 10 in. Framed: 22 1/4 x 18 3/4 x 3/4 in. Signed lower right: Sandu Liberman Sandu Liberm...

"The Farewell By Ulysse Butin (1838-1883)" Ulysse Butin, born in Saint-Quentin, into a poor family, had to earn his living early. An apprentice designer in a muslin factory, he took ...

Pensive Portrait is original drawing in China ink and watercolor realized by Italian artist Vincenzo Gemito (1852 - 1929). Hand-signed on the lower ri...

Luigi Serra (Bologna 1846 - 1888), Portrait of Attilia Marini Mixed media drawing on paper 32 x 26 cm signed, dedicated to Attilia and dated "February 17, 1887" lower right.

Il piccolo ma dettagliato dipinto a tempera acquerellata su carta, di forma ovale, è firmato in basso a sinistra E. Niccheri, ovvero Egisto Niccheri, un pittore toscano attivo soprat...

Sanctus Paulus, 2024 Graphite and White Chalk on Toned Paper, 6 x 6.5 inches A source of firm contemplation, Justas Varpucanskis’s drawing “Sanctus Paulus” is a resolute rendition ...

Date: 1928 Medium: Pastel on Paper Dimensions: 25.00" x 20.00" Signature: Signed Lower Right Cover of The Saturday Evening Post, July 7 1928

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 ...

Black chalk, white smudge and highlights, on paper Image size: 10 3/4 x 5 3/4 inches (27.25 x 14.5 cm) A half-length portrait of a young Duke wearing a long wig...