Drawing Art

A stylish, vintage early 1940s woman's fashion study featuring an advertisement for Lilly Daché Perfumes. Artwork size: 11 x 8 1/2 inches. Archivally matted to 16 x 12 inches. P...

Medium: original etching. This impression on Canson et Montgolfier wove paper was printed in 1937 in an edition of 500 for the "Paris 1937" portfolio. Printed at the atelier of Jean-...

Paired Studies of Lions in Profile 1960's British Modernist Drawing by Irina Hale (British 1932-2022) oil crayon drawings on brown artist paper stuck on A4 artist paper, unframed ove...

“Secret Place” - reminiscent of childhood, where there was always a secret place close to home, a secluded corner of nature that immerses you in the world of your thoughts and dreams...

Héliogravure on brown-toned paper, no signature. Héliogravure  on bot sheets, recto and verso. Edition of 6500 unsigned copies. Printed by Mourlot and published by Tériade on the A...

A Fine, Modern 1930s Academic Anatomical Figure Study of a Male Foot by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). A well executed, early 1930s charcoal study highlighti...

Bo Bartlett (b.1955). Untitlrd, 1991. Charcoal and pencil on paper, 18 x 18.5 inches, 28.5 x 28.5 inches framed. Non-reflective museum glass. Signed and dated lower right. Artist seal in red ink lower left. Excellent condition. While Bo Bartlett’s paintings pay homage to an art historical tradition that has long been rooted in Philadelphia, Boston, and New York, his work highlights the American South—a place he refers to as both the “center of the art world” and the “center of the real world.” After graduating from high school in Columbus, Georgia, Bartlett traveled to Florence, Italy, to pursue an artistic career. There, he studied under North Carolina painter Ben Long...

The Face is a phototype print reproducing drawing by Renzo Vespignani of the 1960s Signed on the plate lower right. The artwork is depicted through strong strokes and perfect hatch...

Original etching from the portfolio "Les Métamorphoses d'Ovide"publised by Skira in 1931. Illustration "Avec Remarque". Catalogue Bloch Vol. I n. 128...

Jacques BOULLAIRE (1893-1976) Tribute to Gauguin : Tahitian Woman (Miriama) Original etching Signed in the plate On vellum, 28.5 x 38 cm (c. 11 x 15 in) INFORMATION: This etching i...

Marc Chagall Clown a la chevre jaune, 1982 Original lithograph in colors on Arches paper Hand signed in pencil and numbered 43/50 from the edition of 50 Dimensions: 35 x 23 inches Fr...

Artist Comments
Tropical fruits, coffee cups, and desserts spread across the table in this playful still life. Decorative plants and patterned dishes add cheerfulness to the sc...

A Fine, Mid-Century Modern 1950s Figure Study Portrait Drawing of an African American Male Model by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). A well executed, Academic ...

George Lilanga (1934-2005) - Tribal dance - Acrylic on board Painting size 61x61 cm. Frameless. George Lilanga was born in 1934 in the city of Kikwetu, in the southeast of Tanzania ...

There is something compelling about drawings and sketches made by architects. Loose and full of life this delicious little study, made on the spot, beautifully captures the essence of place. Made during one of Patterson's early tours to India it shows the gloriously majestic Palace Museum in Udaipur, Rajasthan, which sits on the highest point overlooking Lake Pichola and the City. The delicate wash of terracottas, pinks and reds offers us the feel of sun on the old stones. India Palace Museum (Udaipur), watercolour & pencil on paper, image 9.5cm x 14cm, framed 21.5cm x 24.5cm, Artist Stamp, signed in pencil bottom left, 1990 Doug Patterson...

This stunning charcoal drawing lithograph print on paper depicting a fanciful lion kidnapping a young woman was designed by Adolf Uzarski (1885-1970), a German artist. This drawing i...

Artist: Ellsworth Kelly (American, 1923-2015) Title: "Lotus" Portfolio: Derrière Le Miroir: Hommage à Aimé et Marguerite Maeght (No. 250) *Issued unsigned Year: 1982 Medium: Original Lithograph on smooth wove paper Limited edition: Unknown Printer: Imprimerie Moderne du Lion, Paris, France Publisher: Maeght Editeur, Paris, France Sheet size: 15" x 11" Reference: "The Prints of Ellsworth Kelly - A Catalogue Raisonné: 1949-1985" - Axsom No. Ic, page 179 Condition: In excellent condition Rare Notes: Provenance: private collection - Brittany, France. Produced for Kelly's collaboration with the August, 1982 No. 250 "Derrière Le Miroir: Hommage à Aimé et Marguerite Maeght" portfolio. Text on verso as issued. Kelly produced the drawing for "Lotus" in Spencertown, New York, and sent the transfer-paper study to Paris for proofing. It was included in the final memorial issue of 'Derriere Le Miroir' with prints by Eduardo Chillida, Takis, Pierre Alechinsky, Joan Miro, Marc Chagall, Shusaku, Arakawa, and Saul Steinberg, to name only a few of the 24 artists who provided original graphic work for this issue. "Lotus" was based on the ink drawing "Lotus" (EK No. P74.65). In October 1945, the French art dealer Aimé Maeght opens his art gallery at 13 Rue de Téhéran in Paris. His beginning coincides with the end of Second World War and the return of a number of exiled artists back to France. The magazine Derriere Le Miroir was created in October 1946 and published without interruption until 1982. Maeght's ambition in establishing his print shop and his publication magazine Derriere Le Miroir was to make available to a broader audience less expensive printed imagery by the artists of his time, many whom were represented by his Paris gallery. Its original articles and illustrations (mainly original color lithographs by the gallery artists) were famous at the time. The magazine covered only the artists exhibited by Maeght gallery either through personal or group exhibitions. Among them are (in alphabetical order): Henri-Georges Adam, Pierre Alechinsky, Bacon, Jean Bazaine, Georges Braque, Pol Bury, Alexander Calder, Marc Chagall, Roger Chastel...

Bold print of "Death Takes the Children" by Kathe Kollwitz (German, 1867-1945). This piece is one of the Lithographic reproductions of the original lithographs, plate 9 from a series...

This exquisite lithograph, titled Sans titre, after Leonor Fini, from the folio L'Histoire d'O (The Story of O), 1962, was published and printed by La Compagnie des Vibliophiles, au ...

This piece is an original lithograph in five colors by Pablo Picasso, created in 1954. Each of the 5 colors of this lithograph was executed with litho crayon on transparent transfer...

Nude is an original drawing in pencil realized by Emile Deschler in 1986. Hand-signed in pencil by the artist on the lower right. Good condition except for some small holes. Emile...

Conté crayon on paper Signed and dated, l.r. This artwork is offered by ClampArt, located in New York City. Mark Beard, born in 1956 in Salt Lake City, now lives in New York City. ...

A Fine, Modern 1930s Academic Anatomical Figure Study of a Standing Male Model (Legs, Backside and Feet) by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). This is a double s...

The Society of Iconophiles (New York, 1894–1936), 1898. Each a lithograph printed on grayish-green, or white wove paper each sheet 10 3/4 x 7 1/2 inches (274 x 190 mm), each with ful...

Artist: (after) Joseph William Mallord Turner (English, 1775-1851) Title: "Ancient Rome" Portfolio: The Turner Gallery: A Series of Sixty Engravings From The Principal Works of Josep...

Wonderful little fashion sketch by Raoul Dufy. From the Estate of Andre Robert (Dufy’s studio assistant) to Anthony Field (La Galerie 18). Watercolor and ink on paper unsigned. 4.75"...

John Rabone Harvey ( 1966 - 1922) graphic and chalk deep green artist paper , unframed artist paper : 5.5 x 7 inches Provenance: private collection Condition: very good condition Ha...

Lithograph and stencil on vélin Rives BFK paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the folio, Yvette Guilbert vue par Toulouse-Lautrec, 1950. Published by Librairie Au Pont des Arts, Paris; rendered by Daniel Jacomet; and, printed by Ateliers Daniel Jacomet et Cie, Paris, Monday, October 30, 1950. Excerpted from the folio (translated from French), This album, including all the prints dedicated by Toulouse-Lautrec to Yvette Guilbert, was printed for the Librairie Au Pont des Arts, by D. Jacomet. The color state of the Colombine plate in Pierrot and the twenty-seven plates of the French and English series were executed according to the original lithographs (before the letter for the French suite) from the Toulouse-Lautrec workshop and kept in the Cabinet des Stampes of the National Library. The collection includes three plates in color and twenty-eight plates in black. All copies also include a lithograph: Colombine à Pierrot, taken, after special authorization from the Musée d'Albi, on the original stone of Toulouse-Lautrec, by Lucien Détruit. It was taken from this album: A non-trade and nominative example; L examples on a large vélin of Rives including: III proofs of the lithography Colombine à Pierrot printed...

Wilhelm Gross (1883 Schlawe - 1974 Oranienburg-Eden), The Prophet, c. 1955. Woodcut on thin laid paper, 43 cm x 23 cm (depiction), 61 cm x 43 cm (sheet size), signed “Dr. Wilh.[elm] Gross” in pencil lower right, inscribed “Orig.[inal] Holzschnitt (Handabdruck)” lower left and inscribed “Aus der ”Ecce homo“ Folge” in the center. - The wide margin with traces of pressing due to the impression, the sitter's left foot with a small purple stain, otherwise in vibrant condition. - The Burden of the Prophet - The large-format woodcut shows a prophet figure that takes up almost the entire height of the sheet. However, instead of seeing something in the distance that is still hidden from our eyes - as is usual in depictions of prophets - the figure has raised his hands in a defensive gesture, as if the prophet is trying to ward off what he has seen. At the same time, however, the position of the arms is an acceptance of the inevitable, which only those who recognize what is to come will have to bear for the time being, which is why the figure in the painting - despite its size - appears almost solitary, alone and exposed to the burden of suffering. In a manner reminiscent of the folds of medieval wooden sculptures...

"Pico" oil on wood 6 x 8 inches 2023

Mokuchu URUSHIBARA Horse bowing, c. 1930 Woodcut after on an ink drawing Signed with the artist's stamp On paper 26 x 35 cm (c. 10.2 x 13.7 in) INFORMATION : Engraving published by...

Artist: Erté Title: Pearls and Emeralds Medium: Embossed serigraph Year: 1990 Edition: 265/300 Sheet Size: 41 3/4" x 29 1/4" Image Size: 35 1/4" x 23 1/4" Signature: Stamped signature

Title: Architectural Miniature Watercolor of Bath Abbey from the West Front by Jack Grunwell, 20th century British artist Medium: Watercolor on thin card, unframed Measurements: 3.7...

Original French Artwork by Robert Ladou (French 1929-2014) original pencil drawing on artist paper, unframed size: 11 x 17 inches condition: very good provenance: from the artists e...

Drypoint etching with stencil on Arches paper, edited in 1975. Limited edition of 250 copies, numbered as 111/250 in lower left corner.
 Hand-signed by artist in pencil in the lower ...

MAN is an original woodcut print by the renowned American and Mexican woman printmaker and sculptor, Elizabeth Catlett. Hand printed on white Rives BFK printmaking paper, 100% acid f...

This piece is an original etching by Salvador Dali from the "After 50 Years of Surrealism" portfolio, which consists of 12 original etchin...

Portrait of Yvette Guilbert is a refined 1954 lithograph after Henri de Toulouse-Lautrec, printed by the legendary Mourlot Frères in Paris. This elega...

A Stylized, 1950s Mid-Century Modern Studio Figure Study of a Standing Female Nude Model (Back) by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). Executed in a Mannerist, Ru...

In the Mirror 2 , nude, ultramarine tempera on colored paper, inspired by Matisse. Part of Nude in Interior series. Shipped rolled in a tube. 1st dibs offers free shipping for certa...

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...

Elwood Warren Bartlett is a Wisconsin native who also worked in Indiana. Largely self taught as a printmaker, Bartlett worked in a style that once identified as his, immediately t...

This exquisite lithograph after Raoul Dufy (1877–1953), titled Nature morte aux fruits (Still Life with Fruit), from the folio Eaux-de-vie, Esprit de la fleur et du fruit (Spirits, E...

This etching from David Hockney’s celebrated Six Fairy Tales from the Brothers Grimm portfolio depicts the somewhat obscure story Old Rinkrank, which Hockney chose to illustrate beca...

Bowling on the Green (from the Bicentennial Pageant of George Washington) 'Bowling on the Green', by printmaker Frederick Childe Hassam, depicts George Washington and friends lawn b...

Own a rare original vintage field study drawing by celebrated Colorado landscape artist Charles Partridge Adams (1858–1942). This expressive ink-on-paper composition vividly captures...

A striking example of Fernando Botero's iconic style, "Woman with a Stole" captures the Colombian master’s signature exploration of volume, form, and sensuality. Executed in 1972, th...

Nude in the Afternoon Sun, pencil and tempera on paper, inspired by Matisse. Part of Nude in Interior series. Shipped rolled in a tube. Free shipping for item over $ 500 with 1stDibs code FREESHIP. In mat and framed as they were in the February exhibition, for display purposes. "In the Afternoon Sun" is an evocative and skillful piece that captures the interplay between light, shadow, and the human form with remarkable sensitivity. The artist’s use of ultramarine tempera on ochre paper transforms a simple moment—sunlight filtering through a window—into an artwork filled with vitality, sensuality, and rhythm. The subject's upward-reaching gesture, with one arm stretched behind her head, creates an elegant, sinuous line that imbues the piece with energy and a sense of motion. Her relaxed expression contrasts with the dynamism of her pose, creating a balance between activity and repose. The figure’s directness, combined with the slight tilt of her head and the open nature of the pose, draws the viewer in, making her seem both vulnerable and self-assured. The intimacy of the moment is heightened by the interplay of light and shadow. The striped patterns of light and shadow play a leading role, emphasizing the contours and textures of the body. These light effects are not only realistic but also deeply expressive, almost creating an abstract overlay that adds rhythm to the composition. The stripes of sunlight create a sense of dimensionality, as if the viewer is peering into a real scene. The interplay of warm ochre and vibrant ultramarine enhances this layered effect, making the shadows feel alive. The artist’s loose, fluid lines lend the piece a sense of immediacy and spontaneity, suggesting that this is a fleeting, captured moment. The gestural strokes used to delineate the figure and the shadows allow the piece to feel natural and unrestrained. The figure is the undeniable focal point, with the bold ultramarine providing sharp contrast against the warm ochre. The background elements, though faintly suggested, remain unobtrusive, allowing the shadows on the body to take center stage. The work’s focus on sunlight playing across the nude figure evokes a sense of warmth, intimacy, and sensuality. There is a tactile quality to the shadows, as if the viewer can feel the heat of the afternoon sun. The relaxed pose, combined with the tranquil mood of the sunlight, suggests a private moment of reflection or contentment. The piece feels deeply personal yet universally relatable. The emphasis on light and its interaction with the human form recalls the Impressionist movement, particularly the works of artists like Degas and Renoir. However, the gestural modernity of the brushwork gives this piece a contemporary flair. Throughout art history, the relationship between light and the human body has fascinated artists, from Caravaggio's dramatic chiaroscuro to Matisse’s lyrical nudes. This piece situates itself within that rich tradition while bringing a fresh and immediate perspective. "In the Afternoon Sun" is a masterful exploration of the interaction between light, shadow, and the human form, capturing both the physical and emotional warmth of a sunlit afternoon. The artist's ability to balance naturalistic detail with expressive abstraction makes this piece both visually stunning and deeply resonant. It’s a celebration of the human figure in its purest, most natural state—bathed in sunlight and alive with the rhythms of nature. Artist Statement "I started by painting interiors, being interested in space and perspective through my studies. These scenes evolved, when I added the human figure. I focused more on the human figure and its relation to the background. The human figure is more present than ever in my paintings now. As a woman artist I’ve been preoccupied with the female form and its imagery. One of my goals was to capture the solitary moments and the nude’s relation to the surrounding space. My interest turned from depicting the space to rendering the atmosphere and the scene as a whole, the feeling a woman adds to the environment: warmth, desire, joy, a feeling of power and control, or the opposite – sadness, despair. Here is a collection of figurative paintings, exploring the nudes in interior spaces, seeing the nudes from my perspective, as a woman artist, considering the physical and spiritual realities of a woman’s body, in a new level of intimacy. My paintings are the opposite of objectifying a woman’s or a man’s anatomy. Painted works, featuring female nudes and a also men nudes...

Bernard BUFFET New York : Statue of Liberty, 1986 Original lithograph Handsigned in pencil Justified EA (artist proof) On Arches vellum 76 x 58 cm (c. 30 x 22 inch) REFRENCES : Catalogue raisonne Bernard Buffet lithograph...

Nude is an original drawing in watercolor, realized in the Mid-20th Century by Jean Delpech (1916-1988). Good conditions except for consumed margins and some foxings. Jean-Ray...

James Kearns, American (1924 - ) - Acrobat, Year: circa 1975, Medium: Etching on Rives, signed, titled and numbered, Edition: 44/50, Image Size: 14.5 x 8.75 inches, Size: 22 x 15 i...

Stephen Sondheim Tony Awards Broadway Musical Theatre NYT Published Al Hirschfeld (1903-2003) Stephen Sondheim Lithograph on paper Sight 21 x 15 inches Signed lower right, numbere...

Mielatz, Charles. RAINY DAY, BROADWAY. Etching, 1892. Edition size not known. Signed in oencil and inscribed "imp," and signed and dated in the plate. 9 7/8 x 7 inches. In excelle...

Medium: original lithograph. Printed in Paris in 1957 at the Mourlot Freres atelier. Size: 8 3/4 x 6 inches (225 x 150 mm). Jean Cocteau executed this original lithograph to depict a...

Artist: Colen Campbell (Scottish, 1676-1729) Title: "Royal Hospital att Greenwich to the River" (Vol. 1, Plates 86, 87) Portfolio: Vitruvius Britannicus; or The British Architect, Co...

This exquisite lithograph by Pablo Picasso (1881–1973), titled Sans titre (Untitled), from the folio De memoire d'homme (In living memory), originates from the 1950 edition published...

Robert Azensky Fine Art is pleased to offer original 1909 sketch study of oil painting "Homesteader Colorado Mountain" painting by Frank Tenney Johnson. It's always special to see the evolution of a painting through the plein air sketches ("studies") by the artist prior to its painting. Frank Tenney Johnson traveled throughout the Colorado Rockies sketching and painting western landscapes and native American and cowboy figurative art. Medium: Charcoal on paper Signature: Lower left corner Date: "1909" below signature Condition: Tonal aging and minor edge wear consistent with age and use. See images. Presented in black painted wood frame Mat size: 14"H x 11"W Paper size: 9"H x 6"W Image size (visible with mat): 8"H x 5.25"W Frank Tenney Johnson was born in Coucil Bluffs, Iowa, in 1874 not far from the Overland Trail. During his childhood, he saw the steady stream of people heading west in all forms of horse-drawn conveyance. This early exposure to the American West was critical in leading Johnson towards the Western landscape as an inspiration for his work. The resulting body of work is a moody and romantic depiction of a long-gone America, rendered in a style that has become practically a genre all its own. At the age of ten, Johnson moved from Iowa to Milwaukee, WI. There, he took an apprenticeship with F.W. Heinie, a prominent panoramic painter. After a year with Heinie, Johnson apprenticed for Richard Lorenz, a painter and former Texas Ranger who specialized in depictions of horses and western scenes. It was probably during his time with Lorenz that Johnson decided to focus on western subjects himself. He also started illustrating for regional papers and publications, in order to save money for further training. Further training, as with many of the artists who populated New Mexico in the early twentieth century, took place at the Art Students League in New York, where Robert Henri, William Merritt Chase, John Twachtman, Kenneth Hayes Miller and F. Louis Mora were in the process of teaching perhaps the last great batch of pre-modernists. Though highly stimulated by the training, Johnson was only able to stay for five months, after which he returned to Milwaukee to work and save money in an effort to return to New York. He was able to do so after a time and, upon returning, established an important professional relationship with Emerson Hough, the editor of "Field & Stream" magazine. At Hough's urging (and on Hough's dime), Johnson traveled to Hayden, Colorado, where he tagged along with a group of cowpunchers in order to sketch their way of life. Though primarily an artist, Johnson also wrote accounts of his time in Colorado for "Field & Stream." After Colorado came Cheyenne, Wyoming, where Johnson attended a "Frontier Days" celebration; after Wyoming, Johnson traveled to New Mexico, where he observed the Navajos and their threatened way of life. This trip changed Johnson from an academic artist with an appreciation for the west to a truly western artist. Of particular interest to him, in stark contrast to other western artists of the time like Frederic Remington and C.M. Russell, were the more quotidian scenes of the West. Specifically, Johnson focused upon scenes featuring horses, especially at night. Johnson painted a great number of pieces that featured horses tied up outside of saloons, inns or trading posts for the night, the moonlit night punctuated by the warm glow from the lamps inside. In this, he can be considered a pioneer, as his night pieces still serve as the archetype for such work in western art. Johnson became quite successful through his work for "Field & Stream." He was chosen to illustrate books by the prominent writer Zane Grey, and his gallery shows sold briskly. In fact, one particular show, at the Grand Central Art Galleries at the Biltmore Hotel in New York, sold out opening night. In fact, one man had bought out the entire show: Amon Carter. Having achieved financial security and comfort, Johnson followed his good friend Clyde Forsythe to Alhambra, CA, where the two established residency and shared a studio. California treated Johnson well. He and Forsythe founded the gallery at the Los Angeles Biltmore...

Artist: Alberto Giacometti Title: 'Personnage dans l'atelier' Year: 1961 Medium: Original Lithograph on vélin paper Dimensions: 15in. by 22in. Edition: From the rare limited edition ...

"Temptation", nude, ultramarine tempera on colored paper, inspired by Matisse. Part of Nude in Interior series. An expressive line, revealing the essential of the female sensual bod...

ARTIST: Salvador Dali TITLE: Winter and Summer MEDIUM: Etching SIGNED: Hand Signed EDITION NUMBER: A/P MEASUREMENTS: 25" x 35.5" YEAR: 1973 FRAMED: No AUTHENTICITY: This pi...