Women Drawings and Watercolor Paintings

Title: Brittany Watercolor of Saint-Marie du Menez-Hom Church with Breton Woman by Robert Lepine (French, 1929 - 2017) Signed: Yes Medium: Watercolor painting on artists paper Size: ...

Original charcoal drawing on paper by James Shipton My works are heavily influenced by the art work of Degas and Gustav Klimt. My desire is to capture the beauty of the human for...

Graphite on blue paper Literature: Alfonso Panzetta, Jared French by Jared French: 600 Unpublished Works from the Artist's Italian Years (Turin, Italy: Um...

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...

The image is an original animation drawing of Bugs Bunny and Yosemite Sam by Virgil Ross, a legendary animator from the "Golden Years of Animation" at Warner Bros. Graphite, colored ...

The artist has always liked divas and femmes-fatales. "My grandmothers spoke often of these actresses and admired them openly as if they were real. They created a collective imaginat...

"Secret Visit" from the "Garden of Delights" series is an enchanting painting that portrays a girl surrounded by peacocks in a mysterious garden. This artwork symbolizes the beauty ...

Original abstract landscape artwork by Italian contemporary artist Marilina Marchica. Titled “Abstract Earth Landscape”, this unique piece is created using natural pigment on fine a...

"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...

Work on paper Brown wooden frame with glass pane 36 x 30 x 1.5 cm

French Landscape by Bernard Labbe (French mid 20th century) original watercolour/ gouache on artist paper, unframed size: 16 x 12.75 inches condition: very good and ready to be enjoy...

Chaim Goldberg (Polish-American, 1917-2004) Untitled, 20th century Ink and gouache on paper Sight: 11 1/4 x 14 in. Framed: 19 1/2 x 22 1/4 x 7/8 in. Signed lower left: Chaim Goldberg...

A delightful early 19th century graphite piece depicting a mother and child taking a moment to rest and quench their thirst. To the little girl's feet is a cat, vying for attention. ...

Movies, TV and magazines are constant source of inspiration. Fame, as fleckring and shallow it can be sometimes, is very intriguing to him. The worlds of fashion, society and pop cu...

Movies, TV and magazines are constant source of inspiration. Fame, as fleckring and shallow it can be sometimes, is very intriguing to him. The worlds of fashion, society and pop cu...

Léonie POISSON (XIX) Black chalk and white chalk 56 x 45 cm (66 x 55 cm with frame) Signed and dated lower right "Léonie Poisson / Août 1845"

A Charming, 1930s Modernist Portrait Study of a Seated Young Male Bather by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). Most likely completed at a summer lake house in Al...

Medium: Gouache on Illustration Board Signature: Signed Middle Right Sight Size 20.50" x 27.00;" Framed 30.25" x 35.00" Framed and matted under glass in antique gold painted art deco...

In my pictures I try to combine the visual and the conceptual. For me, drawing is a medium of knowledge which, beyond direct expression, makes visible material and immaterial forces,...

Silhouettes You can access artist’s inspiration from the celebrations, dance events, ferias, festivals taking place in AndalucÃ

Helios In Boots In Colors is a mixed media artwork realized by Richard Lindner in the 1970s. Pencil and watercolor on paper. Hand-signed on the lower. Very good conditions. Richa...

Algesa O'Sickey (American, 1917-2006) Woman Painting Watercolor and ink on green paper Unsigned 9 x 12 inches 13.75 x 16 inches, framed Born Algesa D’Agostino on June 4, 1917, Alges...

Sanguine female nude drawing in reclined pose by French artist P. Balet, 1947. Original artwork on paper displayed on a white mat with a gold border. Mat fits a standard-size frame...

Lone figure with glasses

Artist: Antonio Gonzalez Collado The Two Clowns (Les Deux Clowns) mixed media on paper signed artist studio stamp on the back dimensions (motif) 15...

Beautiful original drawing by American artist, Albert Sway (b.1913). Portrait of a young woman, ca. 1935. Ink on paper, measuring 8.5 x 11 inches. Signed lower right. Unframed...

While working with a model in the studio, it often happens that models get tired and fall asleep - such moments are beautiful in their naturalness and often become the impetus for cr...

This stunning Baroque study depicts a regatta boat, a type of vessel developed in eighteenth-century Venice for the regattas organized by the Serenissima during visits by royalty and princes. We propose to link this drawing to the work of Alessandro Mauro, an artist who specialized in this type of composition, as illustrated by a drawing from him at the Metropolitan Museum. 1. Description of the boat The greatest decorative fantasy reigns in this preparatory study, which blends mythological and exotic elements with references to ancient Egypt. Our drawing is probably an initial thought, destined to be refined and clarified later in pen and ink (as evidenced by the ink stain in the lower right). A quadriga of seahorses guided by Neptune stands at the stern of the boat, shown well above the waterline (perhaps to outline its empty volume). One of the seahorses is ridden by a newt, while Amphitrite lies at the feet of the sea god. The center of the boat is occupied by a vast baldachin resting on four atlantes and surmounted by a figure riding an animal (a dragon?). Three figures sit beneath the canopy, one of them on a griffin-shaped seat. This allusion to Egyptian antiquity echoes the winged sun (sometimes a symbol of the god Horus, as in the temple of Edfu in Egypt) that adorns the sides of the promontory on which this baldachin rests. Another flag-bearer figure crouches at the stern of the boat on a raised seat, on the reverse of which is a crowned mermaid whose arm, extended backwards, rests on a mascaron decorated with a radiant face (Helios?) and whose torso surmounts an elephant's head. The heads of the rowers and their oars are sketched all along the boat, whose sides are embellished with elongated naiads. 2. The Venetian regatta boats An exhibition held in 2013 at the Ca' Rezzonico (the Venetian eighteenth-century museum) paid tribute to these regatta boats through studies and prints depicting them. The regattas organized by the Serenissima in honor of visiting princes and sovereigns were among the most spectacular ceremonies in Venice. Some important artists of the 18th century contributed to the creation of these extravagant boats which were given exotic names such as bissona, malgarota or peota. The specialists in this field were Andrea Urbani and the brothers Alessandro and Romualdo Mauro. They were born into a family of theater decorators in Piedmont, but little is known about their detailed biography. Alessandro was the architect of the Dresden opera house and of the St. Samuel Theater in Venice (in collaboration with his brother Romualdo), but also worked as stagehand and set designer in Vienna, Rome and Turin. A drawing produced around 1737 from the Metropolitan Museum (7th photo in the gallery) bears witness to his activity as a regatta boat designer. This drawing is a much more elaborate version than the one presented here, having been entirely reworked in brown ink. However, a figure at the bow of the boat, executed solely in black chalk, still bears witness to a technique similar to that of our drawing. It is difficult to know whether the boat depicted in our drawing was a project for an actual boat or whether it remained in the planning stage, but the front of our boat (Neptune and the quadriga of seahorses ridden by a newt) bears several similarities to that of a parade boat depicted in the print published by Michele Marieschi entitled Regatta on the Grand Canal, between the Foscari and Balbi Palaces (last photo in the gallery). This print is dated 1741, which could confirm that our work dates from around 1740. The area between Neptune and the quadriga that precedes him on this strange paddle-boat appears to be partially submerged, confirming that the waterline of our boat was probably intended to be much lower than the one shown in our drawing. The Correr Museum’s collection holds one of the most important collection of engravings and drawings devoted to these specifically Venetian Baroque productions. These boats were intended to last the duration of a festival. Today, they are only documented by preparatory drawings or prints that testify to the sumptuousness of their decoration. This taste for regatta boats lasted throughout the Venetian eighteenth century, and the conception of regatta boats also attracted great masters such as Giambattista Tiepolo, Francesco Guardi or Giambattista Piranesi...

Title: French Impressionist Watercolor of Beachgoers at Leisure By Maurice Mazeilie (French 1924-2021) Medium: Watercolor on paper, unframed Size: 5 x 8 inches (Height x Width) Signe...

Watercolour on paper interpretation of the Raft of the Medusa by English artist Derek Carruthers. The work is signed and titled to the back of the paper. A vivid and engaging interp...

"Play" (2013) Is a thought-provoking original pastel piece by American realist painter Jane Radstrom, depicting a woman in multiple poses overlaid amongst eachother, dictating the mo...

Medium: Pastel on Board Dimensions: 15.75" x 13.25" Signature: Signed Lower Right Readers Digest Cover Woman in Yellow Riding Crop

Kanak drawing in brown ink. Trace of signature or annotations at the bottom right. A slight water stain at the bottom right. Ink a little faded. Drawing framed, under glass. ...

ink and watercolor on paper. Prov. Locarno, Collection Nesto Jacometti; Rome Art Center. Exhibitions: - Pescara, 2002 Ref. Cat. Raisonné, Electa Editore, Milano 2023, n. 28/021, ...

Watercolor on heavy paper realized by Carlo Ravagnan in 1974. Hand signed and dated lower left. Excellent condition. Carlo Ravagnan was born in Udine on September 4, 1911, died in...

Collections: Sir Thomas Lawrence, who acquired the contents of Fuseli’s studio; Susan, Countess of Guilford, née Coutts (1771-1837), acquired from the Lawrence estate; Susan, Baroness North (1797-1884), daughter of the above; Mrs A. M. Jaffé, acquired in France, c. 1950 to 2016. Black chalks, on buff-coloured paper Stamped verso: ‘Baroness Norths Collection / of Drawings by H Fuseli Esq.’ Framed dimensions: 26.38 x 20.63 inches This boldly drawn sheet depicting a seated figure was made by Fuseli at an important and highly productive moment in his career. The monumental drawing is closely related to another sheet by Fuseli in the British Museum which Schiff published as subject unknown. Both drawings were made when Fuseli was designing his most important sequence of historical works, including scenes from Shakespeare and Milton, The Nightmare and The Death of Dido which was exhibited at the Royal Academy to great critical acclaim in 1781. The present drawing does not relate directly to any of Fuseli’s finished historical paintings of the period, but evidently the image of a slightly menacing, seated and covered old woman was precisely the sort of motif he was playing with. It is notable that the same figure reappears later in Fuseli’s work as the witch from Ben Jonson’s Witch’s Song which Fuseli produced as both a painting and engraving in 1812. Fuseli returned to London in 1779 from a highly creative and productive period in Rome and established himself as one of the leading history painters of the period. Fuseli re-established contact with his old mentor Sir Joshua Reynolds, becoming a regular guest at his dinner table and visitor to his studio. The earliest and most striking manifestation of this strategy was Fuseli's Death of Dido, exhibited in 1781 at the Royal Academy. Executed on the same scale as Reynolds's version (Royal Collection), Fuseli's vertically oriented picture was hung directly opposite Reynolds's with its horizontal orientation, inevitably inviting comparison between the two works and garnering Fuseli much publicity and favourable reviews in the newspapers. The present, previously unpublished sheet, relates closely to a drawing now in the British Museum. That sheet shows the same seated old woman, drawn on a smaller scale and more schematic in design, seated next to an anatomical drawing of a man. The pose of this figure is related to the pose of Dido in his Death of Dido; the foreshortened torso, arrangement of head, oblique view of Dido’s features and arms all suggest that the study can be viewed as an initial thought for the composition. Fuseli may have initially thought of including the figure of the hunched and covered old woman. Drawn on identical paper to the British Museum sheet, our study is an enlarged depiction of the same figure, more elaborately delineated and developed. The presence of a chain to the right of the figure, suggests that the iconography was related in some way to a scene of imprisonment. Fuseli had first explored the motif of the hooded old woman in an early Roman drawing, 'The Venus Seller'. The idea of a grotesque old woman, hooded and with angular nose and projecting chin seen in profile was most spectacularly used by Fuseli in his sequence of paintings depicting The Three Witches from Macbeth. Fuseli seems to have kept the present sheet and may have returned to it when preparing a painting of The Witch and the Mandrake from Ben Jonson’s Witch’s Song from his Masque of Queens in 1812. Here the same seated figure looks out from under her hood and picks a mandrake by moonlight. Jonson’s drama had been performed at the court of James I in 1609, inspired the subject. To throw the nobility of the queens into relief, the poet added a coven of witches, one of whom declares: ‘I last night lay all alone, On the ground, to hear the mandrake groan; And plucked him up, though he grew full low, And, as I had done, the cock did crow.’ The figure was reversed in the associated etching which was published in 1812. It seems likely that the present drawing remained as part of Fuseli’s working archive of figure studies. The present drawing was presumably purchased with the bulk of Fuseli’s drawings after the artist’s death by Sir Thomas Lawrence. Lawrence’s large group of Fuseli drawings were then acquired by Susan, Countess of Guildford (1771-1837). Lady Guildford was the eldest daughter of the banker Thomas Coutts (1735-1822), who himself had supported Fuseli’s journey to Rome in the 1770s and had remained one of the artist’s key...

Antoniucci VOLTI Guillaumette, Standing Nude Original tall painting in sanguine on wood panel Handsigned bottom right Titled on the back On wood panel 116 x 89 cm (c. 46 x 36 inch) ...

'Standing Nude Study', pastel on art paper, by Louis Latapie (circa 1930). There is something very pure in the naked human body, but for some that purity can veer towards pruriency. ...

Watercolor on paper realized by Mino Maccari in 1960 ca. Hand signed in pencil lower right. Very good condition.

Charcoal and watercolor on paper realized by Mino Maccari in 1965. Hand signed lower right. Very good condition.

Watercolor on paper realized by Mino Maccari in 1955 ca. Hand signed in pencil lower right. Very good condition.

Watercolor on paper realized by Maccari in 1935 ca. Hand signed lower right. Another drawing, ink and watercolor, on rear. Very good condition.

Peace is a modern artwork realized by Gabriele Galantara (1865-1937) in the early 20th century. Watercolor, ink and pencil on paper. Monogrammed on the right margin. Good condition...

Foreing affairs is a modern artwork realized by Gabriele Galantara (1865-1937) in the early 20th century. Watercolor, ink and pencil on paper. Hand signed on the right margin. Good...

The Pope is a modern artwork realized by Gabriele Galantara (1865-1937) in the early 20th century. Watercolor, ink and pencil on paper. Hand signed on the right margin. Good condit...

Mid 20th Century French drawing of Fishermen bringing in their catch. The work is unsigned but annotated to the back of the paper 'Mars 7...

On Intimacy True intimacy is not born from words or touch — it arises in the space where one presence allows another to enter. It is a delicate field of trust, where there is no nee...

Mid Century French Portrait by Josine Vignon (French 1922-2022) Medium: Pencil on artists paper, double sided Size: 10 height) x 6.5 (width) Stamped Verso Condition: Good Provenan...

A Fabulous 1950s Mid-Century Modern Standing Female Nude Figure Study by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). Artwork Size: 18 x 12, unframed, mounted / floated t...

Graphite on paper, initialled and dated 1960 Image size: 8 x 6 inches (20 x 15 cm) Handmade frame

RECLINING NUDES, Signed Original Watercolor Drawing Chaim Gross (Austrian American, 1902-1991) Original mixed media - watercolor and graphite on paper, hand signed in pencil by Chaim Gross on lower right, very good condition, off-white cream archival acid-free mat, warm metallic pewter color wood frame. Framed size - 20 x 23 in., 2.5 inch, Image area 12.5 x 16 in. Frame is included. About the artist - Chaim Gross (1902-1991) was a modern American sculptor working in New York City from 1921 until his death in 1991. He was born in 1902 to a Jewish family in Austrian Galicia, in the village of Wolowa in the Carpathian Mountains. In 1911, his family moved to Kolomyia. During World War I, Russian forces invaded Austria-Hungary; amidst the turmoil, the Grosses fled Kolomyia. They returned when Austria retook the town in 1915, refugees of the war. When World War I ended, Gross and brother Avrom-Leib went to Budapest, where Gross attended the city's art academy and studied with painter Béla Uitz, though within a year a new regime under Miklos Horthy took over and attempted to expel all Jews and foreigners from the country. After being deported from Hungary, Gross began art studies at the Kunstgewerbeschule in Vienna shortly before immigrating to New York City in 1921. In New York City, Gross's studies continued at the Educational Alliance Art School on the Lower East Side, led by Russian-American etcher Abbo Ostrowsky. Gross first began to exhibit his work as a student at the Alliance in 1922 (in the late 1920s, he joined their faculty). Gross also attended the Beaux-Arts Institute of Design from 1922-25, where he studied sculpture with Elie Nadelman and others, and at the Art Students League in 1926, with sculptor Robert Laurent. In 1926, Gross began to exhibit his sculpture at the Jewish Art Center (then in the Bronx), and in 1927, at the Salons of America exhibitions at the Anderson Galleries at 59th Street and Park Avenue. Beginning in 1928, he exhibited at the Whitney Studio Club at 10 West 8th Street (the precursor to the Whitney Museum of American Art), showing a watercolor "Circus" in their 13th Annual Exhibition of Paintings. In March 1932 Gross had his first solo exhibition of sculpture at Gallery 144 in New York City. Also in 1932, Gross married Renee Nechin (1909-2005), and they had two children, Yehudah and Mimi (Mimi Gross is a New York-based artist, and was married to the artist Red Grooms from 1963-1976). In 1933, Gross joined the government's PWAP (Public Works of Art Project), which transitioned into the WPA (Works Progress Administration). Under these programs Gross taught and demonstrated art, made sculptures for schools and public colleges, and created works for Federal buildings including the Federal Trade Commission Building, and for the France Overseas and Finnish Buildings at the 1939 New York World's Fair. Gross was also recognized during these years with a silver medal at the 1937 Exposition universelle in Paris. Chaim Gross, Sculptor by Josef Vincent Lombardo, the first major book on Gross, came out in 1949 and included a catalogue raisonne of his sculpture. In the 1950s Gross began to make more bronze...

Italian painter Silvia Pavarini is known for her distinctly feminine artworks that resonate with the quiet whispers of nature. Each piece she creates embodies an ongoing dialogue wit...

A turn-of-the-century fantasy illustration by female illustrator May Audubon Post features a charming fairy with expanded wings resting on Lilly s...

Grace Ramsey (American, b. 1985) Grace Ramsey is a self-taught painter based in Charlotte, North Carolina. Before establishing herself as a visual artist, she spent over a decade as ...

Title: Historic Miniature Watercolor of Ye Shakespeare Inn and Temple Tower in Bristol by Jack Grunwell, 20th century British artist Medium: Watercolor on thin card, unframed Measur...

A fine watercolour portrait of an elderly Italian woman wearing a red and white candy patterned headscarf and gingham blue dress. The artist has beautifully captured the delicate det...

Joseph Glasco (American, 1925-1996) Reclining Figure, facing right (Nikos) 1971 India ink on paper Signed and dated middle right 26 x 38.25 inches In original frame. Joseph Glasco ...

"Interesting Story" (2023) by Bunyod Suvonov is original handmade oil painting done on canvas. This piece depicts a portrait of a woman with long brown hair sitting in a chair and re...

"Brussels Excursion" (ca.2011) By Naum Katsenelson is a beautiful original watercolor painting done on watercolor paper, depicting a crowd of people walking up a staircase on a rainy...

Artist: Bart Perry (American, 1906-1992) Title: Landscape V Year: c.1975 Medium: Watercolor Paper: Watercolor paper Image size: 14 x 17 inches paper size: 14 x 17 inches Signature: Signed lower right in pencil by the artist Condition: Excellent, some glue residue remaining on the back at the sheet edge. About the artist. Bart Perry studied at the California School of Fine Arts, MFA, 1928. Fine Arts, Mills College, Berkeley, CA. 1955. Selected Exhibitions: Lucien Labaudt Gallery with Wm. Mayo, 1946; California School of Fine Arts, Roy DeForest...