Ifpda International Fine Print Dealers Association Drawings and Watercolor Paintings

Turn of the century drawing signed E. Rantz on laid paper. Watermark: Lalanne Frame: 29 3/4 x 24 Image: 24 3/4 x 18 3/4"

Studio stamp of Gromaire, lower center Provenance: Atelier of the artist Notes: A typical Normandy beach scene, perhaps near Deauville or Trouville.

West Gouldsboro (Looking Across Mt. Desert Narrows) Watercolor on paper, c. 1945-1955 Unsigned Provenance: Estate of the Artist Condition: Excellent Image/Sheet size: 9 7/8 x 12 1/2 inches Regarding the Maine subject matter of her watercolors, we know that Allen taught art in West Gouldsboro, ME, located near Arcadia National Forest. This watercolor was most probably done in that vicinity. A local Maine newsletter mentions “the artist Greta Allen’s house” as artist residing in West Gouldsboro, Maine in a house formerly owned by James Hill. West Gouldsboro is located just east of the Mt. Desert Narrows, across Frenchman Bay from Mt. Desert Island and Arcadia National Park. Please see attached images for detailed information about the artist's life and time in Maine. Greta Allen, who is sometimes listed under her married name Dietz, was born in Boston in 1881. At the Massachusetts Normal Art School she took elementary lessons from Joseph R. DeCamp, then Frank Benson was her teacher at the School of the Museum of Fine Arts, Boston. Although her work seems to be only in private collections today, Allen exhibited at the Boston Art Club, at the Copley Society...

Brown ink with orange bleed on rice paper 22.9 x 27.9 cms (9 x 11 ins)

Landscape with Figures in the English Countryside Pen, ink and graphite with gray and brown washes on laid watermarked paper, c. 1740 Signed by the artist lower left of image: "Chate...

Cassatt, Mary. WOMAN WITH OPERA GLASSES (STUDY FOR "IN THE LOGE"). Drawing, Pencil, circa 1878. 5 x 8 1/2 inches (sheet). With the estate stamp "Mary Cassatt - Collection Mathilde....

William Thon, 'Upper Tuscany', a two-sided watercolor, c. 1955. Signed, lower right; titled verso. A fine, expressionist work, with fresh colors, on cream watercolor paper; the image...

Butterfly and Heart Drawing in black felt pen over color screenprint 'spot' composition Signed in full (bottom edge) and dedicated (top edge) Dedicated by the artist Annotated in fe...

AMERICA'S CUP - 1967. WING MARK. INTREPID - DAME PATTIE [AUS]. This Joseph Webster Golinkin watercolor of the 1967 America's Cup depicts the...

Eileen Lake Crayon on paper, early1930's Initialed in pencil lower right (see photo) Titled and annotated verso "Eileen Lake, early 1930s girlfriend" Note: Eileen Hall Lake was an American poet and Adolf Dehn's girlfriend in the early 1930s. Provenance: Estate of the artist By descent Adolf Dehn, American Watercolorist and Printmaker, 1895-1968 Adolf Dehn was an artist who achieved extraordinary artistic heights, but in a very particular artistic sphere—not so much in oil painting as in watercolor and lithography. Long recognized as a master by serious print collectors, he is gradually gaining recognition as a notable and influential figure in the overall history of American art. In the 19th century, with the invention of the rotary press, which made possible enormous print runs, and the development of the popular, mass-market magazines, newspaper and magazine illustration developed into an artistic realm of its own, often surprisingly divorced from the world of museums and art exhibitions, and today remains surprisingly overlooked by most art historians. Dehn in many regards was an outgrowth of this world, although in an unusual way, since as a young man he produced most of his illustrative work not for popular magazines, such as The Saturday Evening Post, but rather for radical journals, such as The Masses or The Liberator, or artistic “little magazines” such as The Dial. This background established the foundation of his outlook, and led later to his unique and distinctive contribution to American graphic art. If there’s a distinctive quality to his work, it was his skill in introducing unusual tonal and textural effects into his work, particularly in printmaking but also in watercolor. Jackson Pollock seems to have been one of many notable artists who were influenced by his techniques. Early Years, 1895-1922 For an artist largely remembered for scenes of Vienna and Paris, Adolf Dehn’s background was a surprising one. Born in Waterville, Minnesota, on November 22, 1895, Dehn was the descendent of farmers who had emigrated from Germany and homesteaded in the region, initially in a one-room log cabin with a dirt floor. Adolf’s father, Arthur Clark Dehn, was a hunter and trapper who took pride that he had no boss but himself, and who had little use for art. Indeed, during Adolf’s boyhood the walls of his bedroom and the space under his bed were filled with the pelts of mink, muskrats and skunks that his father had killed, skinned and stretched on drying boards. It was Adolf’s mother, Emilie Haas Dehn, a faithful member of the German Lutheran Evangelical Church, who encouraged his interest in art, which became apparent early in childhood. Both parents were ardent socialists, and supporters of Eugene Debs. In many ways Dehn’s later artistic achievement was clearly a reaction against the grinding rural poverty of his childhood. After graduating from high school in 1914 at the age of 19—an age not unusual in farming communities at the time, where school attendance was often irregular—Dehn attended the Minneapolis School of Art from 1914 to 1917, whose character followed strongly reflected that of its director, Munich-trained Robert Kohler, an artistic conservative but a social radical. There Dehn joined a group of students who went on to nationally significant careers, including Wanda Gag (later author of best-selling children’s books); John Flanagan (a sculptor notable for his use of direct carving) Harry Gottlieb (a notable social realist and member of the Woodstock Art Colony), Elizabeth Olds (a printmaker and administrator for the WPA), Arnold Blanch (landscape, still-life and figure painter, and member of the Woodstock group), Lucille Lunquist, later Lucille Blanch (also a gifted painter and founder of the Woodstock art colony), and Johan Egilrud (who stayed in Minneapolis and became a journalist and poet). Adolf became particularly close to Wanda Gag (1893-1946), with whom he established an intense but platonic relationship. Two years older than he, Gag was the daughter of a Bohemian artist and decorator, Anton Gag, who had died in 1908. After her husband died, Wanda’s mother, Lizzi Gag, became a helpless invalid, so Wanda was entrusted with the task of raising and financially supporting her six younger siblings. This endowed her with toughness and an independent streak, but nonetheless, when she met Dehn, Wanda was Victorian and conventional in her artistic taste and social values. Dehn was more socially radical, and introduced her to radical ideas about politics and free love, as well as to socialist publications such as The Masses and The Appeal to Reason. Never very interested in oil painting, in Minneapolis Dehn focused on caricature and illustration--often of a humorous or politically radical character. In 1917 both Dehn and Wanda won scholarships to attend the Art Students League, and consequently, in the fall of that year both moved to New York. Dehn’s art education, however, ended in the summer of 1918, shortly after the United States entered World War I, when he was drafted to serve in the U. S. Army. Unwilling to fight, he applied for status as a conscientious objector, but was first imprisoned, then segregated in semi-imprisonment with other Pacifists, until the war ended. The abuse he suffered at this time may well explain his later withdrawal from taking political stands or making art of an overtly political nature. After his release from the army, Dehn returned to New York where he fell under the spell of the radical cartoonist Boardman Robinson and produced his first lithographs. He also finally consummated his sexual relationship with Wanda Gag. The Years in Europe: 1922-1929 In September of 1921, however, he abruptly departed for Europe, arriving in Paris and then moving on to Vienna. There in the winter of 1922 he fell in love with a Russian dancer, Mura Zipperovitch, ending his seven-year relationship with Wanda Gag. He and Mura were married in 1926. It was also in Vienna that he produced his first notable artistic work. Influenced by European artists such as Jules Pascin and Georg Grosz, Dehn began producing drawings of people in cafes, streets, and parks, which while mostly executed in his studio, were based on spontaneous life studies and have an expressive, sometimes almost childishly wandering quality of line. The mixture of sophistication and naiveté in these drawings was new to American audiences, as was the raciness of their subject matter, which often featured pleasure-seekers, prostitutes or scenes of sexual dalliance, presented with a strong element of caricature. Some of these drawings contain an element of social criticism, reminiscent of that found in the work of George Grosz, although Dehn’s work tended to focus on humorous commentary rather than savagely attacking his subjects or making a partisan political statement. Many Americans, including some who had originally been supporters of Dehn such as Boardman Robinson, were shocked by these European drawings, although George Grocz (who became a friend of the artist in this period) admired them, and recognized that Dehn could also bring a new vision to America subject matter. As he told Dehn: “You will do things in America which haven’t been done, which need to be done, which only you can do—as far at least as I know America.” A key factor in Dehn’s artistic evolution at this time was his association with Scofield Thayer...

Signed lower center edge Annotated verso: “5 Juin 1966 _____ et de soleil, de et d’oseille” Image: 6 3/4 x 4 5/8" Frame: 14 1/2 x 12 3/4" Finishe...

"And wasn't it good for a boy to be Out to old Aunt Mary's" Charcoal and watercolor on artist illustration board, 1900 Initialed and dated lower right: H.C.C. 1900 by the artist (see...

Preliminary drawing for a sculpture Black crayon on paper, 1959 Signed and dated middle right (see photo) A rare 1950's AbEx drawing. Provenance: Estate of the artist Michael and Ala...

Signed in pencil lower right recto Provenance: Elizabeth Carroll Shearer (1924-2014), Chesterland, Ohio, former President and Trustee of the Print Club of Cleveland which is an affiliate of the Cleveland Museum of Art. Her collectors mark of initials and a Sealyham Terrier...

Nude Female Torso Charcoal on paper, c. 1920 Stamped and initialed in pencil "Asa Cheffetz/A.D.C" Estate signature by wife, A.D.C. Exhibited: Museum of F...

Study for “Republic Standing” Graphite on calque tracking paper, c. 1848 Signed lower right corner: Vigneron Provenance: Shepherd Gallery, New York ...

untitled (Maine Autumn Landscape across the narrows from Mt. Desert) Watercolor, 1945-1955 Signed by the artist lower left in pencil (see photo) Provenance: Estate of the artist Cond...

Sprinchorn, Carl (American, 1887-1971) UNTITLED. Drawing, pastel and ink wash on paper, not dated. Signed, lower right. 8 x 5 inches, framed to 16 x 12 inches. Provenance, Tom Veille...

Standing Female Nude Match stick and ink drawing, c. 1925 Signed with the estate stamp B Sheet size: 21 x 16 inches Created at the Kakoon Arts Klu...

Untitled Abstraction Graphite on paper. c. 1946 Unsigned Provenance: Estate of the Artist Inherited by his neighbor/caregiver Condition: Staining at corners ...

aka Beni Kosh Untitled (Abstraction) Watercolor on paper, 1970's Unsigned Ben Kosh Estate Stamp verso, No. 754 Condition: Very good Sheet size: 10 5/8 x 14 9/16 inches Provenance: Estate the Artist Bingham & Vance, Shaker Heights...

Nude Monotype in colors, 1936 Signed, dated, and inscribed in pencil (see photo) Annotated: "Orig. Monotype," dated Munchen 8 Sept. 1936" Condition: Excellent Image/plate size: 12 7/8 x 10 5/8 inches Sheet size: 20 1/2 x 16 5/8 inches Provenance: Frederick Baker, Inc., Chicago Hans Hermann...

AMERICA'S CUP - 1967. BEAT TO THE FINISH - INTREPID (USA) VS. DAME PATTIE (AUS). “Beat to the Finish” is a 1967 watercolor by Joseph Webster ...

Readings from the "Communion of Saints": folio from an Italian Missal Pigment on vellum Mid 17th century Provenance: Otto F. Ege (1888-1951) Phillip Duechnes Bookseller, New York, c. 1948 References And Exhibitions: Otto F. Ege Box Folio 27 Ege describes these folios as: Epistolary (Epistolarium), Italy, Middle 15th century Latin Text: Rotunda or Round Gothic Script, square rhetorical neumes Sister folio are in the following rare book libraries: Case Western Reserve University Cincinnati Public Library Cleveland Institute of Art Cleveland Public Library Denison University Kent State University Kenyon College...

Untitled Watercolor, cut out and construction on paper, 2013 Signed and dated in pencil lower right Condition: Excellent Image size: 22 x 30 inches Frame size: 30 x 37 inches Archiv...

Paul Cézanne Le Sentier ca. 1890 Watercolour and pencil on paper 34.6 x 51.5 cms (13 5/8 x 20 1/4 ins) PC16325

Ashton, Ethel V. UNTITLED. Pastel on paper, circa 1930. Unsigned, but with the estate stamp, verso, as is typical for similar works by her. The image shows an African-American coupl...

Reed, Robert (American, 1938-2014). SAN ROMANO: BLACK NINE. Mixed media, collage, assemblage. painted and colored papers and office staples, not dated, but ...

Homage to Morandi Watercolor, c. 1990 Signed lower right: Sloane An important exhibition size watercolor by the artist. Acquired by the Cleveland Clinic, de-accessed in 2021 Conditio...

Surrealist landscape with organic shapes Watercolor on paper, 1960-1970 Signed CE Harris lower right corner (see photo) Stamped with the artist’s estate stamp verso (see photo) Reference: Beni Kosh Collection Estate Stamp #705 Provenance: Estate of the artist A wonderful example by one of the few African American Surrealist painters. “An African-American born Charles E. Harris, the name under which he painted until the early 1960s when he took the name of Kosh. His paintings span the period 1949-71, and reflect abstract and surreal figurative subjects which include Cleveland street scenes, jazz clubs, and depictions of Christ.” Courtesy of Rachel Davis Fine Art “Beni E. Kosh was born as Charles Elmer Harris, in Cleveland Ohio. He changed his name in the 1960’s, which translates to “Son of Ethiopia”. He rarely exhibited or sold his work and was affiliated with the African-American artists’ “Sho-nuff Art Group” and the Karamu House and studied under Cleveland artist Paul Travis. His style is very diverse and he experimented with Cubism, portraiture and abstractions in series. His paintings span from 1949 – 1971, and reflect abstract and surreal figurative subjects, which include Cleveland street scenes, jazz clubs, and depictions of Christ. He received little recognition during his lifetime and was only “rediscovered” literally days after his death when hundreds of his paintings were rescued by an art dealer.” (Courtesy Pennsylvania Art...

In the 1970s, the beginning of a new phase in Francis’ career was defined by the emergence of the ‘color blotches’. These spots of gritty, shimmering color were made through glazes, ...

Johnson, Lester (American, 1919-2010). MEN IN BOWLER HATS. Drawing, watercolor, wash, and pastel on paper, 1973. Signed, lower right. 26 1/2 x 40 1/2 inches...

Still Life with Tromp L'Oeil Graphite and watercolor on a book page. Signed in ink by the artist lower right corner (see photo) Provenance: Estate of the artist (Estate No. 00916 verso) Ray Sommer (the artist's son) Joseph M. Erdelac (No. 18 JME verso) Book page verso is an illustration of a Durer woodcut...

Somm, Henry (French 1844-1907). UNTITLED - ACTRESS ON STAGE. Drawing, ink on paper, not dated, but circa 1890-1900. Signed "Hy Somm." 9 7/8 x 6 3/4 inches ...

ZIG [Louis Gaudin]. La Mariee. Costume design for the entertainer Mistinguette for her production at the Moulin Rouge in Paris. Watercolor, Signed Zig. Ca 19...

James Turrell Corrected RC Site Plan, 1988/92 Ink on printed paper 35 x 45

Horses Leaving the Barn Watercolor on paper, 1940 Signed and dated lower left corner (see photo) Condition: Excellent Image: 14 1/2 x 21” Frame: 25” x 31” Provenance; Associated American Artists, New York (see photo of label) Mamdouha and Elmer Holmes Bobst Displayed in an original wormy chestnut frame with OP3 Acrylic. Most probably from the AAA Dehn watercolor exhibition of 1940. Vintage original framing chosen by the artist. Note: Elmer Holmes Bobst (1884–1978) was an American businessman and philanthropist who worked in the pharmaceutical industry. His wife, Mamdouha, was also well known philanthropist. Bobst was born in Lititz, Pennsylvania. He aspired to become a doctor, but instead, he taught himself pharmacology. After his wife Ethel composed his interview letter, he became manager and treasurer of the Hoffman-LaRoche Chemical Works by 1920. When Bobst retired from the company in 1944, he was one of the nation's highest paid corporate executives. In 1945 he took charge of the ailing William Warner Company (later Warner–Lambert) and he remained board chairman until his retirement. Bobst had close connections to President Dwight Eisenhower, but was also a close friend of President Richard Nixon. Note: In 1940, the year of this watercolor, Dehn and Elizabeth Timmerman visited Waterville, MN on their way to Colorado Sprint, Colorado where Dehn was to teach lithography and watercolor. This watercolor is obviously a view of the area around Waterville. Adolf Dehn, American Watercolorist and Printmaker, 1895-1968 Adolf Dehn was an artist who achieved extraordinary artistic heights, but in a very particular artistic sphere—not so much in oil painting as in watercolor and lithography. Long recognized as a master by serious print collectors, he is gradually gaining recognition as a notable and influential figure in the overall history of American art. In the 19th century, with the invention of the rotary press, which made possible enormous print runs, and the development of the popular, mass-market magazines, newspaper and magazine illustration developed into an artistic realm of its own, often surprisingly divorced from the world of museums and art exhibitions, and today remains surprisingly overlooked by most art historians. Dehn in many regards was an outgrowth of this world, although in an unusual way, since as a young man he produced most of his illustrative work not for popular magazines, such as The Saturday Evening Post, but rather for radical journals, such as The Masses or The Liberator, or artistic “little magazines” such as The Dial. This background established the foundation of his outlook, and led later to his unique and distinctive contribution to American graphic art. If there’s a distinctive quality to his work, it was his skill in introducing unusual tonal and textural effects into his work, particularly in printmaking but also in watercolor. Jackson Pollock seems to have been one of many notable artists who were influenced by his techniques. Early Years, 1895-1922 For an artist largely remembered for scenes of Vienna and Paris, Adolf Dehn’s background was a surprising one. Born in Waterville, Minnesota, on November 22, 1895, Dehn was the descendent of farmers who had emigrated from Germany and homesteaded in the region, initially in a one-room log cabin with a dirt floor. Adolf’s father, Arthur Clark Dehn, was a hunter and trapper who took pride that he had no boss but himself, and who had little use for art. Indeed, during Adolf’s boyhood the walls of his bedroom and the space under his bed were filled with the pelts of mink, muskrats and skunks that his father had killed, skinned and stretched on drying boards. It was Adolf’s mother, Emilie Haas Dehn, a faithful member of the German Lutheran Evangelical Church, who encouraged his interest in art, which became apparent early in childhood. Both parents were ardent socialists, and supporters of Eugene Debs...

Mora, F. Luis (Americn, born Uruguay, 1874-1940). UNTITLED (FAMILY ON SAILBOAT). Drawing, pencil on paper. Not dated, but circa 1890-1910. Signed, and with the artist's address in p...

Woman on a Patio Pastel on paper, c. 1915 Unsigned Provenance: Gift of the artist to his wife, Mary Hess Buehr By decent to the artist's niece, daughter of Will...

Unsigned Graphite on paper

Unsigned Graphite and colored pencils on laid paper

Ink and gold on paper silk mounted to hanging scroll Brush wash scroll Signed Torei sha, sealed Hirokuni and Torei Painting size: 42 x 16" Scrol...

Anonymous. "SMITHEREENS" ORIGINAL ART FOR AN ALFRED E. SMITH CAMPAIGN POSTER. Circa 1920. Ink drawing with white highlighting. 20 x 22 inches, in an early fra...

Kallem, Henry. PORCH - MONHEGAN. Ink on paper, not dated. Signed in ink within the matrix, lower right. 16 x 20 inches, the full sheet. In excellent condition.

Unknown title (castle with wall, stream and footbridge) Watercolor on laid paper, mounted to support of old Albumin photograph mount Signed and dated lower left (see photo) The watercolor is mounted on support that is the backing for a vintage albumin photograph of Moulin Huet, Guernsey, Channel Islands, c. 1850's Condition: Mounted to verso of albumin photograph mount (see photo) Glue residue outside of image/sheet on recto Colors fresh No other issues to note David Cox (29 April 1783 – 7 June 1859) was an English landscape painter, one of the most important members of the Birmingham School of landscape artists and an early precursor of Impressionism. He is considered one of the greatest English landscape painters, and a major figure of the Golden age of English watercolour. Although most popularly known for his works in watercolour, he also painted over 300 works in oil towards the end of his career, now considered "one of the greatest, but least recognised, achievements of any British painter. His son, known as David Cox the Younger (1809-1885), was also a successful artist. Early life in Birmingham, 1783–1804 Cox's birthplace in Deritend, Birmingham, illustrated by Samuel Lines Cox was born on 29 April 1783 on Heath Mill Lane in Deritend, then an industrial suburb of Birmingham. His father was a blacksmith and whitesmith about whom little is known, except that he supplied components such as bayonets and barrels to the Birmingham gun trade. Cox's mother was the daughter of a farmer and miller from Small Heath to the east of Birmingham. Early biographers record that "she had had a better education than his father, and was a woman of superior intelligence and force of character." Cox was initially expected to follow his father into the metal trade and take over his forge, but his lack of physical strength led his family to seek opportunities for him to develop his interest in art, which is said to have first become apparent when the young Cox started painting paper kites...

Lee Hall (1934-), Connecticut Summer Fragments, a portfolio of watercolor, 29 in all, each about 5 ¼ x 7 ¼ inches, on hand made paper attached to a backing, i...

Nu (Standing Female Nude) Red chalk on wove paper, c. 1925 Signed lower right: C Despaiu (see photo) Sheet size (folded format): 12 1/8 x 8 5/16 inches Condition: Very good Sheet fol...

Stella, Joseph. STUDY OF A MAN WITH A HAT AND OVERCOAT. Blue, red and black crayon on tan wove paper, c. 1920. 6 7/8 x 4 3/4 inches; 173 x 120 mm. Signe...

CYRIL POWER (British 1872-1951) STUDIES FOR THE COLOR LINOCUT REVOLUTION II, 1931 Pencil on thin wove paper. Unsigned. Consists of two 3 inch square pencil drawings on one sheet of thin wove paper 10 x 7 3/8 inches. Preliminary studies for Power's Grosvenor School...

Nude Woman in Chair Watercolor, gouache, ink, and pencil on heavy paper, c. 1930-35 Signed with the artist's Estate stamp lower right (see photo) Note: "Matchstick" ink drawing of fe...

Robert Philipp, 'Rehearsal, "Long Day's Journey Into Night" ', color pastel, c. 1957. Unsigned. A fine, atmospheric rendering, on warm gray charcoal paper; a reinforced crease (1/2 inch) across the bottom left sheet corner; otherwise in very good condition. Image and sheet size 17 1/2 x 21 3/4 inches. Matted to museum standards, unframed. Provenance: Art Students League, from the artist’s personal portfolio. ABOUT THE ARTIST Robert Philipp (1895–1981) was a celebrated American Post-Impressionist painter known for his nudes, still lifes, and portraits. Noted art critic Henry McBride named Philipp one of America's top six painters of his generation. Philipp was an instructor of painting at the Art Students League, New York, for 33 years. Philipp was Secretary of the National Academy of Design, a National Academician, and a Benjamin Franklin Fellow at the Royal Society of Arts in London. His composition and painting style has been compared to the art of Edgar Degas and Pierre Auguste Renoir. In 1940, Philipp was invited to Los Angeles by Hollywood producer Louis B. Mayer to paint portraits of Metro-Goldwyn-Mayer movie stars. The same year, Walter Wanger, producer of ‘The Long Voyage Home’, directed by John Ford and based on plays by Eugene O'Neill, contracted with Reeves Lewenthal, head of the Associated American Artists gallery in Manhattan, to bring nine well-known artists to the set and paint scenes from the movie and portraits of the actors in character. The artists included Robert Philipp, Thomas Hart Benton, Grant Wood, Ernest Fiene, George Schreiber, Luis Quintanilla...

Thon, William (American, 1906-2000) UNTITLED SKETCHBOOK DRAWING #1. Ink on paper, not dated, but circa 1960s. Unsigned.The sketchbook identified by an Estate label on its cover. 5 x ...

'Fish & Flowers', Chinese Hopei Folk Art, 1956. Paper-cut with watercolor, mounted on cream, wove backing paper, with fresh, vivid colors, in excellent condition. Matted to museum st...

Sam Francis Untitled (SF64-121) 1964 Gouache and oil on paper 69.9 x 104.4 cms (27 1/2 x 41 1/8 ins) SF14605 Exhibited: New York, 'Chamberlain/Francis', Van Doren Waxter, July 11- ...

untitled (polo player on horseback) Chalk on tan paper, c. 1920 Unsigned Provenance: Gift of the artist William McGill (Keller's student) Image size: 4 3/8 x 5 ...

Leonard Nowak, 'The Thinker?', conté crayon and India ink, c. 1940s. Signed in ink, lower left. Original cartoon drawing, on textured, off-white wove dra...

Painting for a Japanese magazine cover, or possibly a romance novel. One can infer from the dramatic juxtaposition that it may have been designed for a s...

Thon, William (American, 1906-2000) UNTITLED SKETCHBOOK DRAWING #15. Ink on paper, not dated, but circa 1960s. Unsigned.The sketchbook identified by an Estate label on its cover. 5 x...