American Modern Art

Il San Pietro di Positano, 1984 is a Limited Edition Estate Stamped Digital C-Type Print by 20th Century American Photographer Slim Aarons. 16" x 20" print. Limited Edition Estate S...

Acrylic Painting One of a kind artwork Size: 40 × 30 × 2 cm The artwork is titled and signed on the front and also comes with a certificate of authenticity. Artwork arrives in perf...

JESSIE ARMS BOTKE (1883 – 1971) THE INTRUDER c. 1930 Color woodcut, signed, titled and inscribed “Botke prints” Image 9 ¾ x 11”, sheet 11 7/8 x 14 3/4" On cream laid paper. Califor...

Robert Mapplethorpe William S. Burroughs Photograph insert from Radar No. 1 (1982) Year: 1982 Sheet Size: 9.8 × 7.8 inches (24.9 × 19.8 cm) Framed Size: 17 x 13 x 1.25 inches (43.2 ×...

Jean-Michel Basquiat (1960-1988) Welcoming Jeers, 1997 Lithograph Printed signature in the plate On paper 76 x 56 cm (c. 29.9 x 22 in) Published by Galerie Enrico Navarra Authenti...

"TRIPLE ELVIS BY ANDY WARHOL" is a photomosaic artwork by Destro. Destro has created large prints which are made up of many hundreds of smaller images. Archival photographic paper ...

* SPECIAL 1STDIBS PRICE A contemporary photograph of Guns N' Roses iconic "Appetite for Destruction" cassette tape. This is s the first release in the much anticipated series "The M...

Original museum grade exhibition prints on acid-free archival luster paper. These are the highest quality NASA prints ever produced. Edition of 150. *This print can be hung vertic...

Majorelle Garden, Marrakesh is a Limited Edition Estate Stamped Digital C-Type Print by 20th Century American Photographer Slim Aarons. 16" x 20" print. Limited Edition Estate Stamp...

HAROLD L. DOOLITTLE (1883 - 1974) YOSEMITE 1924 Aquatint signed and titled in pencil and dated in the plate lower left 1924. Image 9 ¾ x 13 ¾, sheet 12 x 16 ¾. Doolittle excelled i...

Old Village by Millard Owen Sheets, American (1907–1989) Circa 1977 Lithograph on Arches, signed and numbered in pencil Edition of 250, AP Image Size: 19.5 x 21.5 inches Size: 23.5 x...

Dancing Figures (Untitled), 1944, oil on canvas, signed and dated lower right, 22 x 34 1/4 inches, presented in its original strip wood frame, from the estate of the artist Ernest Ro...

R2D2 from the original Kenner release of the Star Wars toys in May of 1977 This is pre release is the first release in the much anticipated series "The Toys" These iconic figures hav...

Jacques La Grange, 'The Start of the Race, 1899', color woodcut, edition 500, 1934. Signed and numbered '21/500' in pencil. A fine impression, with fresh colors, on cream wove paper,...

Man at Machine, 1939, oil on canvas, unsigned, 9 ½ x 16 inches, label verso bears artist’s name and address, title, date, size and medium of the painting, exhibited Roszak Early Pain...

"Ali" is a photomosaic artwork by Destro. The first release in a series mosaic works called "Icons". Destro has created large prints which are made up of many hundreds of smaller im...

This artwork titled "High Meadows" 1984, is an original reduction woodcut on paper by noted American artist Gordon Louis Mortensen, b.1938. It is hand signed, dated, titled and numbered 24/130 in pencil by the artist. The artwork (image) size is 20 x 33.75 inches, framed size is 27.75 x 41 inches. Custom framed in a wooden gold frame, with off-white fabric matting and dark green fillet. It is in excellent condition, the frame have some very small minor restorations, practically invisible. Please note: the shadows lines at the upper right of the artwork is not a part of it, it is the reflection of the lighting. About the artist: Born near Arnegard, North Dakota on April 27, 1938, Gordon Mortensen...

JOHN STEUART CURRY (1897-1946) THE MISSED LEAP, 1934 (Cole 23) Lithograph Signed titled, dated and numbered in pencil. Signed in the stone lower left. Image 17 x 9 3/4 “, sheet 20 ¼...

Acrylic painting on canvas Size: 70 × 90 × 2 cm (unframed) This artwork is sold unstretched, but I can arrange for it to be stretched upon request. The artwork comes with the a Certificate of Authenticity. Artworks are shipped rolled in a secure tube. This is a safe and reliable packaging method that ensures your artwork arrives in perfect condition while keeping shipping costs affordable. This minimalist painting features vibrant red flowers in a white vase, set against a calming turquoise background. Inspired by the styles of David Hockney and Henri Matisse, the artwork combines abstract shapes with bold brush strokes, creating a modern, eye-catching piece for your home. Painted with acrylic on canvas, it brings a playful yet elegant touch to any room. Ideal for lovers of contemporary art, this piece is perfect for brightening up living spaces, bedrooms, or offices. Add a pop of color and sophistication to your wall with this striking floral painting Minimalist red flowers in white vase with turquoise background, abstract acrylic painting inspired by David Hockney and Henri Matisse red flowers painting, minimalist art, abstract floral, turquoise background, white vase artwork, Hockney inspired, Matisse style, modern wall art, acrylic flower painting...

An Introspective, Post-War Modern Southwestern Landscape Painting of an Adobe House in New Mexico by Notable Chicago Artist, Walter Burt Adams (Am. 1903-1990). A subtle tonal, archi...

Post War Berkeley Hills Victorian House Original Watercolor Painting, Signed Original 1947 watercolor painting of Berkeley home in the featuring an iconic Queen Anne Victorian house...

Gelatin silver print mounted on board, 7 1/2 x 9 1/2 in. (190 x 241 mm) from the Roland Butler Collection, Press Agent, Ringling Bros. and Barnum & Bailey Circus (1930s-1960s) Roland...

Acrylic on canvas Size: 40 x 30 x 2 cm Signed by the artist with certificate of authenticity Artwork arrives in perfect condition while keeping shipping costs affordable. This stun...

This elegant composition by Will Barnet, titled Seventh Season, reflects the artist’s mature and highly recognizable style—quietly introspective, balanced, and refined. Barnet, a lea...

Wind Flowers in a Tzu Chow Vase, 1933, oil on canvas board, signed and dated lower right, 20 x 16 inches, label verso with title and original price ($185.00), exhibited 44th Annual E...

A Colorful, Modern Maine Coastal Scene Painting, "White Boat in Harbor" by Famed Chicago Artist and Printmaker, Charles Turzak (Am. 1899 - 1986). The painting depicts a vibrant, sunlit autumn landscape painting most likely painted near the quiet rural harbor town of Penobscot, Maine. The painting is acrylic on canvas, dates from the 1950s and has a great visual appeal- a perfect complement to any New England coastal home or summer cottage in Maine. Artwork size: 20 x 36 inches, accompanied with the artist's original, hand-painted frame (Framed size: 21 3/4 x 36 1/2 inches). Signed "Turzak", lower left; titled on artist's label on reverse. Provenance: Estate of the artist. Charles Turzak was one of Chicago’s greatest printmakers of the Art Deco-era. Son of a coal miner, Turzak was born in Streeter, IL in 1899. In 1920, Turzak won the first prize a cartoon contest sponsored by the Purina company and he used his prize money to enroll in the Art Institute of Chicago. Best known as a print maker, in the 1920s & 30s, he created woodcuts of many of Chicago’s most notable buildings, including the Merchandise Mart, Palmolive Building and the Old Water Tower, among others. In 1933, he was commissioned to create woodcuts of many of Chicago’s most iconic buildings to illustrate a guidebook called “All About Chicago” by John and Ruth Ashenhurst” that featured the upcoming Century of Progress Exhibition in Chicago. During the 1933 World’s Fair...

This original 1965 Earl Newman Monterey Jazz Festival poster represents a landmark example of concert poster artistry from jazz music's golden era. The Earl Newman Monterey Jazz Fest...

Vibrant Post War Bay Area Garden Landscape - Original Watercolor Painting Lively landscape of a path and steps through a garden by Turkish-American artist Ömer Şahingil (Turkish/Ame...

Colorful acrylic painting of friends relaxing in lounge chairs with wine glasses Acrylic Painting on canvas One of a kind artwork Size: 80 × 80 × 3 cm (unframed) The artwork is tit...

Adriaan Lubbers New York City, The El at Chatham Square, 1930 Original lithograph Handsigned in pencil Numbered / 100 On Rives vellum 28 x 22.5 cm (c. 11 x 9 in) Very good condition

Etching with drypoint on lightweight Japon paper, 9 3/4 x 9 7/8 inches ( 247 x 250 mm); sheet 14 x 12 3/4 inches (355 x 324 mm), full margins. Signed in pencil in the lower margin. I...

Charles Turzak, 'The Workers (No. 2)', woodcut, edition 50, c. 1935. Signed and numbered 2/50 in pencil. A fine, richly-inked impression, on cream wove Japan paper, with full margin...

Sunbathing Antibes, 1976 by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped C-Print. Edition of 150. Printed Later. Sunbathing Antibes, 1976 is a Limited Edition Estate ...

Palm Springs Riders, 1970 by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Digital C-Type print. Edition of 150. Printed Later. Like a scene out of an Indiana J...

Clare Leighton, 'Washing Clothes, Corsica, 1934, wood engraving, edition 60, Boston Public Library 258. Signed, titled, and numbered '20/60' in pencil. A superb, richly-inked impress...

A Charming 1940s Mid-Century Modern Watercolor of Pirate's Alley, New Orleans by Arlene S. Ezickson (Am. 1927-2003). Titled "Vieux Carre, New Orleans" the artwork is watercolor and ...

Dale Nichols, 'Partners', lithograph, edition 250, 1950. Signed in pencil. A fine, richly-inked impression, on cream wove paper; the full sheet with margins (7/8 to 1 5/8 inches); tw...

JESSIE ARMS BOTKE (1883 – 1971) PELICANS c 1927-30 Color woodcut, small edition 13 3/8” x 15 3/8”, sheet 15 x 17”. Signed in pencil. Annotated “Botke Prints” Good impression and col...

Charles Turzak, 'Loop Alley (Chicago)', color woodcut, edition c. 25, c. 1935. Signed and titled in pencil. A fine, richly-inked impression, with fresh colors, on cream wove Japan pa...

Original vintage travel advertising poster for the FRENCH RIVIERA FRENCH NATIONAL RAILROADS SNCF (French National Railways) - the French Riviera. (Cote D'Azur, known as the French Riviera) The image features people looking out towards a marina full of sailing boats. Colorful artwork by the French painter Jules Cavailles (1901-1977). Printed by Perceval, Paris in 1953. Mid-Century Modern. Grade A- This is the English version of the poster compared to the design created for Cote d'Azur. The English version is much rarer (both are rare today). The poster gives the impression of a naive painting at this Mediterranean beach and seaport. Step into a world of timeless elegance and sunlit dreams with this exquisite French Riviera Vintage...

An enchanting Southern landscape by the mother of the Charleston Renaissance. A native of Charleston, South Carolina, and educated under the tutelage of Thomas Anshutz at The Pennsylvania Academy of Fine Arts, O'Neill Verner was a teacher, a mother, an artist, an ardent preservationist, and a skilled autodidact. Having previously focused on painting, in the early 1920s she found herself deeply moved by printmaking as a media, and especially so by the simple, peaceful themes and tableaus she discovered in Japanese art. She embarked on a effort to teach herself Japanese printmaking techniques, and in the process, produced the charming images of every day life in Charleston and its environs that earned her recognition as a cultural icon in her day, and in more modern times, as the mother of the Charleston Renaissance, which flourished well into the 1930s. In 1923 she opened a studio in Charleston where she focused on documenting the local color and the architecture and landscape that distinguishes Charleston as one of the South's most beautiful cities, all the while applying the gentle and poetic thematic sensibilities of Japanese printmaking. O'Neill Verner soon found herself in high demand when municipalities and institutions throughout the country sought commissions from her to document the beauty of their grounds and historic buildings. She worked as far north as the campuses of Harvard and Princeton, and extensively across the South, including in Savannah, Georgia, where through sweeping commissions she was able to marry her love of southern preservation and art. O'Neill Verner was a lifelong learner, and continued a path of edification that led her to study etching at the Central School of Art in London, to travel extensively through Europe, and to visit Japan in 1937, where she studied sumi (brush and ink) painting. She was a founding member of the Charleston Etchers Club, and the Southern States Art League. Her works are represented in the permanent collections of leading museums across the American south, and in major national institutions including the Metropolitan Museum of Art, Boston's Museum of Fine Art, and the Smithsonian American Art Museum. O'Neil Verner...

Children’s Theater, 1934, watercolor on paper, signed and dated lower right, 10 ¾ x 12 5/8 inches (image) Children’s Theater is a fine example of Berlandina’s modernist approach to ...

Gustave Baumann, 'Taos Placita', color woodcut, 1947, edition 125. Baumann 132. Signed, titled, and numbered '20-125' in pencil; with the artist’s Hand-in-Heart chop. A superb, richly-inked impression, with fresh colors, on fibrous oatmeal wove paper; the full sheet with margins (2 to 3 1/8 inches); slight rippling at the left sheet edge, in excellent condition. Matted to museum standards, unframed. Image size 9 5/8 x 11 1/4 inches (244 x 286 mm); sheet size 13 1/4 x 17 inches (337 x 432 mm). Collections: Harwood Museum of Art, New Mexico Museum of Art, Phoenix Art Museum, Scottsdale Art Museum, Wichita Art Museum. ABOUT THE ARTIST Gustave Baumann (1881-1971) was a renowned printmaker and a leading figure of the American color woodcut revival whose exquisite craftsmanship and vibrant imagery captured the essence of the Southwest. "A brilliant printmaker, Baumann brought to the medium a full mastery of the craft of woodworking that he acquired from his father, a German cabinetmaker. This craftsmanship was coupled with a strong artistic training that resulted in the handsome objects we see in the exhibition today. After discovering New Mexico in 1918, Baumann began to explore in his woodblock prints of this period the light. color, and architectural forms of that landscape. His prints of this period are among the most beautiful and poetic images of the American West." —Lewis I. Sharp, Director, Denver Art Museum Baumann, the son of a craftsman, immigrated to the United States from Germany with his family when he was ten, settling in Chicago. From 1897 to 1904, he studied in the evenings at the Art Institute of Chicago, working in a commercial printmaking shop during the day. In 1905, he returned to Germany to attend the Kunstwerbe Schule in Munich, where he decided on a career in printmaking. He returned to Chicago in 1906 and worked for a few years as a graphic designer of labels. Baumann made his first prints in 1909 and exhibited them at the Art Institute of Chicago the following year. In 1910, he moved to the artists’ colony in Nashville, Indiana, where he explored the creative and commercial possibilities of a career as a printmaker. In 1915, he exhibited his color woodcuts at the Panama-Pacific International Exposition in San Francisco, winning the gold medal. Among Baumann’s ongoing commercial activities was his work for the Packard Motor Car Company from 1914 to 1920 where he produced designs, illustrations, and color woodcuts until 1923. In 1919, Baumann’s printmaking work dominated the important exhibition of American color woodcuts at the Detroit Institute of Arts. Twenty-six of his prints were included, far more than the works of any other artist. A set of his blocks, a preparatory drawing, and seven progressive proofs complemented the exhibition. That same year, Baumann worked in New York and, over the summer, in Provincetown, Massachusetts. His airy images of Cape Cod employed soft, pastel colors and occasionally showed the influence of the white-line woodcut technique. Many of his Chicago artist friends had traveled to the southwest, and Baumann became intrigued by their paintings, souvenirs, and stories of an exotic place named Taos, New Mexico. In the summer of 1918, he spent the summer in Taos sketching and painting before visiting Santa Fe. Paul Walter, the director of the Museum of New Mexico, offered him a studio in the museum's basement. Inspired by the rugged beauty of the Southwest—the vibrant colors and dramatic landscapes of the region became a central theme in his work, influencing his artistic style and subject matter for the remainder of his career. Later in the decade, he traveled to the West Coast and made prints of California landscape. Baumann's prints became synonymous with the Southwest, capturing the spirit of its place in America's identity with a unique sense of authenticity and reverence. His iconic images of desert vistas, pueblo villages, and indigenous cultures served as visual tributes to the region's rich cultural heritage, earning him a dedicated following among collectors and curators alike. A true craftsman and artist, Baumann completed every step of the printmaking process himself, cutting each block, mixing the inks, and printing every impression on the handmade paper he selected. His dedication to true craftsmanship and his commitment to preserving the integrity of his artistic vision earned him widespread acclaim and recognition within the art world. About the vibrant colors he produced, Baumann stated, “A knowledge of color needs to be acquired since they don’t all behave the same way when ground or mixed...careful chemistry goes into the making of colors, with meticulous testing for permanence. While complicated formulae evolve new colors, those derived from Earth and metal bases are still the most reliable.” In the 1930s, Baumann became interested in puppet theater. He designed and carved his own marionettes and established a little traveling company. From 1943 to 1945, the artist carved an altarpiece for the Episcopal Church of the Holy Faith in Santa Fe. In 1952, a retrospective exhibition of his prints was mounted at the New Mexico Museum of Fine Arts. Throughout his prolific career, Baumann executed nearly four hundred color woodcuts. Baumann’s woodcuts...

John Marin A Bit of Stonington, 1926 Signed and dated lower right, inscribed and dated on the reverse Watercolor and charcoal on paper 13 3/4 x 17 inches Provenance The Downtown Gal...

Frank Nelson Wilcox (American, 1887–1964) Plowman, Brecksville, Ohio, c. 1922 Watercolor on paper Signed lower right 22.5 x 27.75 inches 27.75 x 34.5 inches, framed Frank Nelson Wilcox (October 3, 1887 – April 17, 1964) was a modernist American artist and a master of watercolor. Wilcox is described as the "Dean of Cleveland School painters," though some sources give this appellation to Henry Keller or Frederick Gottwald. Wilcox was born on October 3, 1887 to Frank Nelson Wilcox, Sr. and Jessie Fremont Snow Wilcox at 61 Linwood Street in Cleveland, Ohio. His father, a prominent lawyer, died at home in 1904 shortly before Wilcox' 17th birthday. His brother, lawyer and publisher Owen N. Wilcox, was president of the Gates Legal Publishing Company or The Gates Press. His sister Ruth Wilcox was a respected librarian. In 1906 Wilcox enrolled from the Cleveland School of Art under the tutelage of Henry Keller, Louis Rorimer, and Frederick Gottwald. He also attended Keller's Berlin Heights summer school from 1909. After graduating in 1910, Wilcox traveled and studied in Europe, sometimes dropping by Académie Colarossi in the evening to sketch the model or the other students at their easels, where he was influenced by French impressionism. Wilcox was influenced by Keller's innovative watercolor techniques, and from 1910 to 1916 they experimented together with impressionism and post-impressionism. Wilcox soon developed his own signature style in the American Scene or Regionalist tradition of the early 20th century. He joined the Cleveland School of Art faculty in 1913. Among his students were Lawrence Edwin Blazey, Carl Gaertner, Paul Travis, and Charles E. Burchfield. Around this time Wilcox became associated with Cowan Pottery. In 1916 Wilcox married fellow artist Florence Bard, and they spent most of their honeymoon painting in Berlin Heights with Keller. They had one daughter, Mary. In 1918 he joined the Cleveland Society of Artists, a conservative counter to the Bohemian Kokoon Arts Club, and would later serve as its president. He also began teaching night school at the John Huntington Polytechnic Institute at this time, and taught briefly at Baldwin-Wallace College. Wilcox wrote and illustrated Ohio Indian Trails in 1933, which was favorably reviewed by the New York Times in 1934. This book was edited and reprinted in 1970 by William A. McGill. McGill also edited and reprinted Wilcox' Canals of the Old Northwest in 1969. Wilcox also wrote, illustrated, and published Weather Wisdom in 1949, a limited edition (50 copies) of twenty-four serigraphs (silk screen prints) accompanied by commentary "based upon familiar weather observations commonly made by people living in the country." Wilcox displayed over 250 works at Cleveland's annual May Show. He received numerous awards, including the Penton Medal for The Omnibus, Paris (1920), Fish Tug on Lake Erie (1921), Blacksmith Shop (1922), and The Gravel Pit (1922). Other paintings include The Trailing Fog (1929), Under the Big Top (1930), and Ohio Landscape...

Jacques La Grange, 'The Yankee', color woodcut, edition 500, 1934. Signed and numbered '25/500' in pencil. A fine impression, with fresh colors, on cream wove paper, with margins (1 1/8 to 1 1/4 inches), in excellent condition. A work from La Grange’s celebrated series of woodcuts 'Drama and Color in the America's Cup Races'. Image size 10 x 10 11/16 inches (254 x 271 mm); sheet size 12 1/4 x 13 1/4 inches (311 x 337 mm). Archivally matted to museum standards, unframed. When the artist created this print in 1934, the 'Yankee' was one of the most promising yachts eligible for the America's Cup but ultimately 'Rainbow' was chosen to defend against England's 'Endeavor' in that year's race. The 'Endeavor' was built for Thomas Sopwith who used his aviation design expertise to ensure the yacht was the most advanced of its day with a steel hull and mast. She was launched in 1934 and won many races in her first season but the Cup challenge was blighted by a strike of Sopwith's professional crew prior to departing for America. Forced to rely mainly on keen amateurs, who lacked the necessary experience, the campaign failed. 'Rainbow' won the series 4–2. This was one of the most contentious of the America's Cup battles and prompted the headline "Britannia rules the waves and America waives the rules." ABOUT THE ARTIST Jacques La Grange was born in Clanwilliam (near Cape Town) in South Africa in 1895. He studied at London University and later immigrated to the United States. La Grange established himself as a painter, illustrator, and printmaker specializing in nautical subjects. He and his wife, Helen La Grange, published 'Drama and Color in the America's Cup Races' in 1934 and 'Clipper Ships of America and Great Britain 1833-1869', in 1936. Both were deluxe hardcover limited edition volumes with signed original color woodblock prints. La Grange had solo exhibitions at the Buchanan Gallery in 1929; the Babcock Gallery and the 56th Street Gallery, New York, in 1930; and at the Nicholas Roerich...

This is a collage of Le Corbusier’s Realisations and Projects, showcasing his iconic architectural works and innovative designs. Le Corbusier, one of the most influential architects ...

Modernist Portrait of St. Francis, Oil on Canvas, Signed Compelling modernist oil on canvas portrait of St. Francis by Dr. Tarmo Pasto (American, 1906-1986). Presented in a taupe pa...

Original vintage poster: WONDERFUL COPENHAGEN created by the artist Viggo Vagnby. This antique poster is archival linen-backed, in excellent condition, and ready to frame. No da...

Capri Holiday, 1958 by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. 'Capri Holiday, 1958' by Slim Aarons is a Limited Edition Es...

A vibrant, colorful Mid-Century Modern abstract harbor scene of Martha's Vineyard by notable Chicago artist, Francis Chapin (Am. 1899-1965). Depicting a bustling harbor scene with n...

Edward Hopper's "First Row Orchestra," originally painted in 1951, captures the quiet anticipation of theatergoers seated in the front row, awaiting a performance. In 1997, Achenbac...

Jean-Michel Basquiat (1960-1988) The King, 1997 Lithograph Printed signature in the plate On paper 76 x 56 cm (c. 29.9 x 22 in) Published by Galerie Enrico Navarra Authenticated b...

Sun Image, 1936, oil on canvas, signed lower right, 30 x 24 inches, presented in a newer frame Jerre Murry was a California modernist painter. Born in Columbia, Missouri, Murry stu...

Charles Turzak, 'The Workers (No. 1)', woodcut, edition c. 50, c. 1935. Signed and titled in pencil. Signed in the block, lower right. A fine, richly-inked impression, on cream wove...

Lawrence Nelson Wilbur (1897-1988), 'Tranquil Harbor' (Gloucester, Massachusetts), wood engraving, edition 55, 1958. Signed in pencil, and signe...

The Great Escape – 1963 Frank McCarthy Original Lithograph This 1963 Frank McCarthy lithograph captures the raw tension of one of cinema's great...

A Colorful, 1930s Modern Autumn-Themed Still Life Painting with a Pumpkin by Notable Chicago Artist, Francis Chapin (Am. 1899-1965). Completed in the vibrant, painterly style for wh...

A contemporary photograph of the "Top Gun" soundtrack. This is s the first release in the much anticipated series "The Music" by pop Artists Destro These iconic tapes have become mor...

An Elegant, Stylish Gilded Age Themed Interior Scene / Set Design by notable stage set, costume and fashion designer, Andre Delfau (Fr./Am. 1914-2000). Artwork is gouache on paper, ...