Pencil Figurative Paintings

Maurice Seuret, French pencil drawing of two Ballet Dancers Pencil on paper, Drawn circa 1920 From a collection of figure drawings all of similar subjects Framed in an amazing V...

Treno,Aereo,Barche a Vela,Sicilia,Futurismo,Italia 1928 importante opera di Giulio D'Anna Sudio per un'opera del 1929 Questo studio è un documento storico. Cornice Futurista inclusa . Inquanto anticipa di un anno il Manifesto dell'Aeropittura Futurista . Disponibile subito ha già i documenti per esportazione opere d'arte Giulio D'Annanato nel 1908, è stato un pittore italiano d'avanguardia famoso per il suo stile aeropittura, che rimanda a una forma di futurismo presente negli anni successivi alla prima guerra mondiale. Visse prevalentemente a Messina, dove si trasferì con il fratello maggiore alla fine della prima guerra mondiale. Rimase però sempre in contatto con Palermo da Messina, quando si dedicò completamente alla pittura, in quanto capoluogo dell'isola. Fu anche il centro più vivo e dinamico nel campo delle arti figurative, soprattutto con la presenza della prima generazione di futuristi siciliani: Vittorio Corona, Pippo Rizzo e Antonino Varvaro. Nel 1931 D'Anna tiene la sua prima mostra personale alla Galleria Vittorio Emanuele III. Poeta italiano, Filippo Tommaso Marinetti è venuto a vedere le opere di D'Anna, ed espresse la sua ammirazione e incoraggiò l'artista a partecipare alla principale mostra futurista nazionale. Fu il primo pittore messinese ad esporre alla XIX Biennale di Venezia nel 1934 e alla seconda Quadriennale di Roma dell'anno successivo, registrando anche il primo premio tra i giovani artisti all'Esposizione d'Arte Coloniale...

This is a work of ultra-high quality that could proudly hang in any major museum in the world. The closer the viewer gets to it, the more the painting reveals itself. Duluc must have painted this with the most refined brush. Stunningly detailed and rendered, Mary Queen of Scots was painted for the cover of the June 10, 1934, issue of American Weekly. It was part of Dulac's series Follies that destroyed famous Queens which also featured illustrations of Seiramis, Dido, Isabella of Bavaria, Marie-Antoinette, and Queen Chand (see previous lot). Mary Queen of Scots signed 'Edmund Dulac...

profile face. original pencil drawing painting André Derain (Chatou, June 10, 1880-Garches, September 8, 1954) was a French painter, illustrator and set designer, representative of ...

Small head in pencil. original drawing painting André Derain (Chatou, June 10, 1880-Garches, September 8, 1954) was a French painter, illustrator and set designer, representative of...

James Montgomery Flagg (1877-1960) Portrait of F. Scott Fitzgerald, ca. 1925. Ink and pencil on illustration board, image measures 9 x 15 inches; 17 x 21 inches framed. Signed lower right. Annotated with name of subject on verso in pencil by the artist. Very good condition with no damage or conservation. Original glue residue in margins. An outstanding a rare example of Flagg's sketch portraiture. While the artist is most famous for illustration work, Flagg loved to make quick sketches of famous society friends and patrons. The piece clearly belongs to the latter category with looser brushwork suggesting famous contemporary American portrait painters that he admired. The image documents a quiet, intimate moment in the lives of both artist and subject. Provenance: John Francis Lee, former president of Stoney Brook College, Long Island, (1918-1999). Annotated on verso in blue ink. James Montgomery Flagg (1877-1960) During a long and fruitful career, James Montgomery Flagg produced an immense and varied amount of artwork. A popular social gadabout and the life of a party, Flagg was constantly sketching friends, celebrities and politicians and always surrounded by beautiful models and sycophants. He clearly enjoyed his own ability at humor and satire as well as his fame as an illustrator. By the age of twelve he was selling his drawings and cartoons to St. Nicholas magazine. At the age of fifteen, he was a staff artist for both Judge and Life magazines, two of the nation¹s most successful periodicals. Flagg grew up in the period when pen and ink ruled and printing technology was limited. When halftone printing was accepted as a reproduction process, Flagg created images of beautiful women, which supplanted the portrait artists of previous decades. It is true that Gibson had created a sensation with his early notion of a beautiful American girl, but Christy, Fisher and Flagg did likewise, with each of them producing early versions of coffee table books and magazine illustrations heralding a new world of fashion, styles, and beauty. The society portraits created by John Singer Sargent were thusly thrown asunder and whole new prototypes of American beauty were created-bustles and chastity were disappearing and the illustrators ushered in a new era. Flagg studied at the Art Students League in New York City (1894-1898), and then in London and Paris (1898-1900). He was an active member of the Society of Illustrators, The Players Club, The Dutch Treat Club, and the Lotos Club-where he personally hung his poignant editorial cartoons in the grille room. In 1898, he went to England to further his art studies and enrolled at the Herkomer School in Bushey, Hertfordshire an art school founded by Professor Hubert von Herkomer, the art critic who heralded Maxfield Parrish¹s work in critical reviews. Upon his return from Europe, he created a comic strip 'Nervy Nat,' which gained immediate popularity winning him the commission for P.G. Wodehouse's stories where he created the visual characterization for the character 'Jeeves'. The first book he illustrated was Yankee Girls Abroad (1900), with pretty gals abounding who were superficially similar to The Christy Girl and Fisher's American Girl. Flagg's notion was yet another example of what American's thought our women should look like. His commissions ranged from cartoons, posters, magazine covers and inside illustrations, and advertisements to serious portraits, which were exhibited in the Paris Salon of 1900 alongside the academic painters from the Academie Julian. Books illustrated include An Orchard Princess, Simon the Jester, City People, Brinkley Manor, The Adventures of Kitty Cobb and in 1932 the seminal pin-up work, Virgins in Cellophane. In 1946, his published his autobiography, Roses and Buckshot. The magazines with his works included Colliers, Cosmopolitan, Hearst's International, Judge Magazine, Liberty, Life, McClures Magazine, Photoplay, Redbook, Saturday Evening Post, The American Weekly, Women¹s Home Companion, and many others. Flagg was a favorite illustrator of publishing tycoon William Randolph Hearst and due to their relationship he gained numerous other commissions including humorous short story illustrations (which he enjoyed doing most), and rapid portrait studies of Hearst's friends. Most of his sitters were generally upper-class society scions and celebrities including: actor John Barrymore and his sister Ethel, cartoonist Ham Fisher, unique humorist Rube Goldberg, and illustrator Charles Dana Gibson. However, James Montgomery Flagg remains best known for a single painting, his iconic illustration of Uncle Sam proclaiming, 'I Want You' for a US Army Recruiting...

A charming watercolour, charcoal and graphite on paper circa 1925 by French neo impressionist painter Paul Signac depicting a view of the Pont Neuf bridge over the River Seine in Paris, France on a cool autumn day. Signature: Signed lower left Dimensions: Framed: 19.5"x25.5" Unframed: 11.5"x17.5" Provenance: The authenticity of this work has been confirmed by Marina Bocquillon-Ferretti. Galleries Maurice Sternberg, Chicago - 1973 In 1880, having left school, Paul Signac contemplated becoming a scholar, his financial independence being assured by his prosperous family. In February 1882, he published a pastiche of Émile Zola’s work in the Parisian magazine Le Chat Noir, entitled Serendipity ( Une trouvaille), but on seeing reproductions of Claude Monet’s work in La Vie Moderne, he decided to turn his ambitions to painting. He took lessons with painter Émile Bin in Montmartre, and settled in successive studios in the area. He wrote to Monet, asking his advice, in 1883. In 1884 he met Armand Guillaumin and exhibited work at the Salon des Artistes Indépendants where he was introduced to Georges Seurat, whose Bathing at Asnières was a revelation to him. The two artists moved in the same avant-garde literary circles and became close friends. Both were part of the founding committee of the Société des Artistes Indépendants (Signac was its President from 1909 to 1934 and unceasingly encouraged younger avant-garde artists such as the Fauves and the Cubists). In 1885 Signac met Camille Pissarro at Durand-Ruel’s. He met Vincent Van Gogh in 1887 at Père Tanguy’s paint shop and the pair remained close friends. He spent summers in various parts of France (Les Andelys and Fécamp in 1886, Comblat-le-Château in Auvergne in 1887, Collioure on the Mediterranean coast, Portrieux in North Brittany in 1888, Cassis in 1889, Italy and Brittany in 1990, and Concarneau in 1891). In 1892 he discovered the little port of St-Tropez where he bought a villa – La Hune – in 1897. He returned there each summer, bringing with him several friends, artists, and writers, including Henri Matisse, who worked with Signac and Henri Edmond Cross for several months. Signac was constantly searching for new subjects to paint, often travelling to ports such as La Rochelle, Marseilles, Genoa, Rotterdam (1896), Switzerland (1903)), Venice (1904 and 1908), and Istanbul (1907). He received the Croix de la Légion d’Honneur in 1911. In 1913, after the birth of his daughter, Ginette, with his mistress Jeanne Selmershein-Desgranges, he separated from his wife and settled in Antibes. In 1884, Signac discovered the writings of the chemist Michel-Eugène Chevreul, whose pioneering study of colour, The Law of Simultaneous Contrast (1839) had been developed by Hermann von Helmholtz (1878). Signac also read the work of David Sutter, whose articles on the Phenomena of Sight were published in 1880 in the review Art, and that of Edouard Rood (1881). Signac’s views on colour were also influenced by Eugène Delacroix, whose Journal was published between 1893 and 1895. Signac had a taste for mathematics, and in 1889 worked closely with his friend Charles Henry, a mathematician and physician. Henry was researching mathematical and geometric proportion and their potential application to the industrial arts. Signac was associated with the Symbolists of La Revue Indépendante. He was also an admirer of Jules Vallès and Joris-Karl Huysmans. He collaborated on the anarchist journal Le Cri du Peuple and throughout his life unceasingly expressed his social and political opinions. A competent writer, from 1890 he published various articles on art, provided texts for exhibition catalogues and wrote other publications including a volume on Stendhal (Antibes, December 1913-January 1914) and a monograph on Jongkind (Paris, Crès, 1927) which included a Watercolour Treatise ( Traité de l’aquarelle). In 1899 he published From Delacroix to Neo-Impressionism (Editions de la Revue blanche, Paris, 1899; H. Floury, Paris, 1911; Hermann, Paris, 1964), in which he analysed the principles of Neo-Impressionism which he had developed with Seurat. He methodically studied the composition and decomposition of light in coloured rays, and quickly established his role as the theoretician of the group, which included Cross, Théo Van Rysselberghe, Maximilien Luce, Henry van de Velde, Hippolyte Petitjean, Lucie Cousturier...

LEOPOLD SURVAGE "SEATED NUDE" PENCIL DRAWING, SIGNED, DATED FRANCE, 1925 14.5 X 9 INCHES Leopold Survage 1879 – 1968 Leopold Survage was born in Moscow in 1879. He studied at ...

Original graphite, ink and gouache illustration, on chipboard. Displayed in a silver finished wood frame. Paris, 1929. This painting is attributed to Jarach, but unsigned. Sheet size...

PAL C. MOLNAR "CABARET" DRAWING, SIGNED HUNGARIAN, WORKED IN PARIS, C.1925 16.5 X 11.5 INCHES Pal C. Molnar 1894-1981 Painter and graphic artist Pal Molnar was born in Hungary in 1894. He studied in Budapest from 1915-1918 to become an art teacher, learning various techniques, which led to the diversity displayed in all his chosen mediums. As a private teacher, he traveled with the Szinyei family to Switzerland, and later spent a year in France before returning to Hungary in 1923. He spent three years in Rome on a fellowship. Characteristic of his art is a combination of classical Mediterranean traditions and the restlessness of 20th century man. The mostly sacral scenes of his pictures, identical with subject matters of the Rome school, are portrayed in a direct sensual style. In the 1920s, he created a richer version of plein air painting, as seen in the stronger colors in his Swiss landscapes. In his drawings and character drawings, thorough observations were accompanied by stylization, cubistic characterization and expressionism. Portrayal, color and a penchant for surrealism created a peculiar version of neo-classicism in his ecclesiastical pictures and frescoes. In 1935 the artist Paul Molnár was made an honorary freeman of his birthplace, the town of Battonya in southeast Hungary. Born there on 28 April 1894, he later took the initial ‘C’ from the surname of his French-born mother, Jeanne Contat, as his professional signature, signing his works ‘MCP’. After learning in schools of Battonya and Arad, Mr. Molnár studied at the Academy of Fine Arts in Budapest before he went to Switzerland in 1918, where he was influenced by Hodler. His exhibitions there (two in Lausanne and one in Geneva) were favourably received and many pictures were sold. In 1921 he studied in Paris, and in 1923 he held his first Budapest exhibition: he began his ecclesiastical works in 1916. From 1924 Mr. Molnár was employed by three newspapers in the largest Hungarian press concern to make daily drawings for their publications, under the title ‘Daily Life’. He lived in Italy from 1928 to 1931 as a scholar of the Hungarian Academy of Rome. He returned to Budapest in 1931, where he married Alice Gästettner. He held numerous exhibitions if his work in Hungary, Germany and Switzerland, France. He participated in international exhibitions including the Venice Biennale eight times and others in Italy, Germany, the United States, Norway, Switzerland, England and others, and participated as a member in all exhibitions of the Copperplate Engravers Society. Mr. Molnár was also active in the New Society of Artists, the Paul Szinyei Merse...

HILDA MASET "FEMME AVEC LES FLEURS" COLORED PENCIL, SIGNED FRANCE, C.1935 11.5 X 7.5 INCHES Hiolda Maset was an illustrator in France in the 1030s.

HILDA MASET "FEMME AVEN ROSES" COLORED PENCIL, SIGNED FRANCE, C.1935 13 X 9 INCHES Hiolda Maset was an illustrator in France in the 1030s.