Buscot Figurative Drawings and Watercolors

EDUARDO ALVARADO b. Spain, 1972 EDUCATION 1990-95 Licenciado en BB AA La Facultad de BB AA de la UPV, Bilbao La Facultad de BB AA de San Fernando, Madrid SOLO EXHIBITIONS 2018 Casa del Libro, Logroño 2016 Casa de Cultura. Miranda de Ebro 2015 Casa de Cultura. Miranda de Ebro Galería Espiral, Noja 2014 Galerie d´Art Anne Broitman. Biarritz, France 2013 Galería de Arte-Centro Cultural (junto a Vesna Pavlovic). Novi Sad, Serbia Centro Cultural La Vidriera, Maliaño The Gallery of Contemporary Fine Arts (junto a Vesna Pavlovic). Nis, Serbia 2012 Gallery Seasons (junto a Vesna Pavlovic). Sofia, Bulgaria Gallery SKC (junto a Vesna Palovic). Belgrado, Serbia Manos para qué os quiero. Logroño Galería Espiral. Feria Internacional de Arte Contemporáneo, Santander Sala Asociación Artistas de Guipuzcoa (junto a Juan Carlos Cardesín), San Sebastian 2011 Galería Espiral, San Miguel de Meruelo Galería Jovan Popovic (junto a Vesna Pavlovic). Opovo, Serbia Galería Veciti Trkac (junto a Vesna Pavlovic). Nis, Serbia Exit Art Gallery (Fundación Adolfo Dominguez...

Bright and colorful abstract geometric watercolor with multicolor connected forms cascading in a dynamic vertical composition by Ellwood Graham (American, 1911-2007). Signed "GRAHAM" in the upper right corner, and "Ellwood Graham" on verso. Circa 1961-1966. The title "Indian Dance...

Rick Sindt's knowledge of the male physique is evident in this exquisite drawing of a nude male. The subject sits on the ground with his body twisted away from the viewer. We see the defined musculature of his posterior. The artwork is framed in white wood with a black mat. Rick Sindt The Body is a History graphite on archival paper 12h x 9w in 30.48h x 22.86w cm RIS026 Shifting the historic male gaze into a male-on-male gaze, this body of work anchors its exploration of queer culture in relationships and introspection. Beginning with a survey of several photo archives, I overwhelmingly encountered pictures that fit into two distinct categories: spectacular demonstrations or public displays of sexuality. All of these images were overtly political. Then, I began to find a subset of more intimate images. Typically, these were images submitted by loved ones or donated to foundations after someone’s death. These images depicted common, tender scenes. Working my way through these images, I reflected on D. A. Miller’s assertion that gay identity, to which we have entrusted our politics and ethics, stands in an essentially reductive relation to the queer desires on which it is based. And David Halperin’s argument that, “identity has become the preferred category for thinking about homosexuality. Moreover, it has been promoted at the direct expense of pleasure or feelings or subjectivity.” This left me asking the questions: how is queer culture transmitted if not genealogically? Is there a universal queer experience? What is queer sensibility and subjectivity and can it be visually represented? Rick Sindt b. 1990, Hastings, MN, EDUCATION 2013 North Park University, Chicago, IL - BFA Magna Cum Laude SOLO EXHIBITIONS 2016 Two Countries, Rogue Philanthropy, Chicago, IL 2013 Tides, Erosion or Catch, Pull, Recover; The-One-Right-Now, North Park University; Chicago, IL GROUP EXHIBITIONS 2016 Are We Not of Interest to Each Other, Uptown Arts Center, Chicago, IL Reinventing Ourselves From Another Point-of-View, Contemporary Gallery at Zhou B. Arts Center, Chicago, IL Collective: Process, Beans and Bagels, Chicago, IL 2015 Collective: for(a)ging, Hammond Art Center; Hammond, IN How We Make It, The Arts of Life, Chicago, IL Collective: One, Albany Park...

The Black Panther Trials - In this historically significant work, African American Artist Vicent D. Smith functions as an Art Journalist/ Court Reporter as much as a Artist. Here, he depicts, in complete unity, 21 Black Panther Protestors raising their fist of defiance at the White Judge. Smith's composition is about utter simplicity, where the Black Panther Protestors are symmetrically lined up in a confrontation with a Judge whose size is exaggerated in scale. Set against a stylized American Flag, the supercilious Judge gazes down as the protesters as their fists thrust up. Signed Vincent lower right. Titled Panter 21. Original metal frame. Tape on upper left edge of frame. 255 . Panther 21. Framed under plexi. _____________________________ From Wikipedia In 1969-1971 there was a series of criminal prosecutions in New Haven, Connecticut, against various members and associates of the Black Panther Party.[1] The charges ranged from criminal conspiracy to first-degree murder. All charges stemmed from the murder of 19-year-old Alex Rackley in the early hours of May 21, 1969. The trials became a rallying-point for the American Left, and marked a decline in public support, even among the black community, for the Black Panther Party On May 17, 1969, members of the Black Panther Party kidnapped fellow Panther Alex Rackley, who had fallen under suspicion of informing for the FBI. He was held captive at the New Haven Panther headquarters on Orchard Street, where he was tortured and interrogated until he confessed. His interrogation was tape recorded by the Panthers.[2] During that time, national party chairman Bobby Seale visited New Haven and spoke on the campus of Yale University for the Yale Black Ensemble Theater Company.[3] The prosecution alleged, but Seale denied, that after his speech, Seale briefly stopped by the headquarters where Rackley was being held captive and ordered that Rackley be executed. Early in the morning of May 21, three Panthers – Warren Kimbro, Lonnie McLucas, and George Sams, one of the Panthers who had come East from California to investigate the police infiltration of the New York Panther chapter, drove Rackley to the nearby town of Middlefield, Connecticut. Kimbro shot Rackley once in the head and McLucas shot him once in the chest. They dumped his corpse in a swamp, where it was discovered the next day. New Haven police immediately arrested eight New Haven area Black Panthers. Sams and two other Panthers from California were captured later. Sams and Kimbro confessed to the murder, and agreed to testify against McLucas in exchange for a reduction in sentence. Sams also implicated Seale in the killing, telling his interrogators that while visiting the Panther headquarters on the night of his speech, Seale had directly ordered him to murder Rackley. In all, nine defendants were indicted on charges related to the case. In the heated political rhetoric of the day, these defendants were referred to as the "New Haven Nine", a deliberate allusion to other cause-celebre defendants like the "Chicago Seven". The first trial was that of Lonnie McLucas, the only person who physically took part in the killing who refused to plead guilty. In fact, McLucas had confessed to shooting Rackley, but nonetheless chose to go to trial. Jury selection began in May 1970. The case and trial were already a national cause célèbre among critics of the Nixon administration, and especially among those hostile to the actions of the FBI. Under the Bureau's then-secret "Counter-Intelligence Program" (COINTELPRO), FBI director J. Edgar Hoover had ordered his agents to disrupt, discredit, or otherwise neutralize radical groups like the Panthers. Hostility between groups organizing political dissent and the Bureau was, by the time of the trials, at a fever pitch. Hostility from the left was also directed at the two Panthers cooperating with the prosecutors. Sams in particular was accused of being an informant, and lying to implicate Seale for personal benefit. In the days leading up to a rally on May Day 1970, thousands of supporters of the Panthers arrived in New Haven individually and in organized groups. They were housed and fed by community organizations and by sympathetic Yale students in their dormitory rooms. The Yale college dining halls provided basic meals for everyone. Protesters met daily en masse on the New Haven Green across the street from the Courthouse (and one hundred yards from Yale's main gate). On May Day there was a rally on the Green, featuring speakers including Jean Genet, Abbie Hoffman, Jerry Rubin, and John Froines (an assistant professor of chemistry at the University of Oregon). Teach-ins and other events were also held in the colleges themselves. Towards midnight on May 1, two bombs exploded in Yale's Ingalls Rink, where a concert was being held in conjunction with the protests.[4] Although the rink was damaged, no one was injured, and no culprit was identified.[4] Yale chaplain William Sloane Coffin stated, "All of us conspired to bring on this tragedy by law enforcement agencies by their illegal acts against the Panthers, and the rest of us by our immoral silence in front of these acts," while Yale President Kingman Brewster Jr. issued the statement, "I personally want to say that I'm appalled and ashamed that things should have come to such a pass that I am skeptical of the ability of a Black revolutionary to receive a fair trial anywhere in the U.S." Brewster's generally sympathetic tone enraged many of the university's older, more conservative alumni, heightening tensions within the school community. As tensions mounted, Yale officials sought to avoid deeper unrest and to deflect the real possibility of riots or violent student demonstrations. Sam Chauncey has been credited with winning tactical management on behalf of the administration to quell anxiety among law enforcement and New Haven's citizens, while Kurt Schmoke, a future Rhodes Scholar, mayor of Baltimore, MD and Dean of Howard University School of Law, has received kudos as undergraduate spokesman to the faculty during some of the protest's tensest moments. Ralph Dawson, a classmate of Schmoke's, figured prominently as moderator of the Black Student Alliance at Yale (BSAY). In the end, compromises between the administration and the students - and, primarily, urgent calls for nonviolence from Bobby Seale and the Black Panthers themselves - quashed the possibility of violence. While Yale (and many other colleges) went "on strike" from May Day until the end of the term, like most schools it was not actually "shut down". Classes were made "voluntarily optional" for the time and students were graded "Pass/Fail" for the work done up to then. Trial of McLucas Black Panther trial sketch...

A Dynamic, Avant-Garde, Mid-Century Modern Abstract Female Figure Study by Harold Haydon (Am. 1909-1994). A striking, black & white figural studio ink drawing on paper depicting an...

Chef Pasta - Vintage Illustration in Ink and Watercolor A charming illustration, by Irene Pattinson (American, 1909-1999), shows a chef in an 1800's toque blanche, pouring oil from an ornate bottle over a bowl. His face, with spectacles, a moustache and goatee in fine line work, is painted in vibrant pink watercolor for an added splash of color. Signed in the bottom right corner, "i.p." Presented in a new white mat with foam core backing. Mat size: 8.5"H x 11"W Paper size: 6.75"H x 6.75"W Image size: 4.13"H x 3.63"W Irene Pattinson (American, 1909-1999) studied at the California School of Fine Art (now The San Francisco Art Institute), San Francisco State College and The Marion Hartwell School of Design. She was President of the San Francisco Woman Artists Association 1955-56. Provenance: The Artist, Estate of Irene Pattinson: David Carlson; Estate of Larry Miller Fine Art, Robert Azensky Fine Art. Solo Exhibitions: Lucien Labaudt Gallery 1955; San Francisco Museum of Art, 1961 (39 works). Selected Group Exhibitions: San Francisco Art Association Annual 1948, 54, 55; San Francisco Woman Artists, 1957-1960; Oakland Art Museum Annual, 1951, 58; California Palace of the Legion of Honor, 1960; Richmond Art Center, 1955, 56, 57, 58; San Francisco Art Institute 1959, 60. The Art Bank of the San Francisco Art Association, 1958, 59, 60, 62, 63; Winter Invitational, California Palace of The Legion of Honor, San Francisco, 1960; Fourth Winter Invitational, California Palace of The Legion of Honor, San Francisco, 1963. Awards: First Place, San Francisco Woman Artists Assoc., 1957, 1959; San Francisco Art Festival 1957;Literature: San Francisco Art Institute - A catalog of the Art Ban 1962/63; San Francisco and the Second Wave: The Blair Collection Exhibitions: 1963 The Art Bank of the San Francisco Art Association, San Francisco, CA 1963 California Palace of The Legion of Honor: Forth Winter Invitational, San Francisco, CA 1962 The Art Bank of the San Francisco Art Association, San Francisco, CA 1961 San Francisco Museum of Art, San Francisco, CA 1960 California...

A Striking 1950s Mid-Century Modern Ink Drawing of a Reclining Female Nude by Noted Chicago Artist, Harold Haydon (Am. 1909-1994). Exhibiting a spare and exceptional use of brushwor...

Indian Dancer - Vintage Illustration in Ink and Watercolor A stoic, dark-haired woman in elaborate dress is sitting cross-legged in this illustration by Irene Pattinson (American, 1909-1999). Pattinson uses fine ink line detail and a vibrant pink watercolor for a splash of color. Signed at the bottom, "Irene Pattinson." Provenance: The Artist, Estate of Irene Pattinson: David Carlson; Estate of Larry Miller Fine Art, Robert Azensky Fine Art. Presented in a new white mat with foam core backing. Mat size: 16"H x 12"W Paper size: 11.75"H x 8.5"W Image size: 7.5"H x 6.5"W Irene Pattinson (American, 1909-1999) studied at the California School of Fine Art (now The San Francisco Art Institute), San Francisco State College and The Marion Hartwell School of Design. She was President of the San Francisco Woman Artists Association 1955-56. Provenance: The Artist, Estate of Irene Pattinson: David Carlson; Estate of Larry Miller Fine Art, Robert Azensky Fine Art. Solo Exhibitions: Lucien Labaudt Gallery 1955; San Francisco Museum of Art, 1961 (39 works). Selected Group Exhibitions: San Francisco Art Association Annual 1948, 54, 55; San Francisco Woman Artists, 1957-1960; Oakland Art Museum Annual, 1951, 58; California Palace of the Legion of Honor, 1960; Richmond Art Center, 1955, 56, 57, 58; San Francisco Art Institute 1959, 60. The Art Bank of the San Francisco Art Association, 1958, 59, 60, 62, 63; Winter Invitational, California Palace of The Legion of Honor, San Francisco, 1960; Fourth Winter Invitational, California Palace of The Legion of Honor, San Francisco, 1963. Awards: First Place, San Francisco Woman Artists Assoc., 1957, 1959; San Francisco Art Festival 1957;Literature: San Francisco Art Institute - A catalog of the Art Ban 1962/63; San Francisco and the Second Wave: The Blair Collection Exhibitions: 1963 The Art Bank of the San Francisco Art Association, San Francisco, CA 1963 California Palace of The Legion of Honor: Forth Winter Invitational, San Francisco, CA 1962 The Art Bank of the San Francisco Art Association, San Francisco, CA 1961 San Francisco Museum of Art, San Francisco, CA 1960 California...

Lounge Chair Nap - Vintage Illustration in Ink and Watercolor A man lazes in a lounge chair, book still in hand, as he dozes off with a content e...

Family at the Beach WPA Modernism American Scene Social Realism Mid 20th Century William Gropper (1898 - 1977) "Family at the Beach" 27 1/2 x 19 1/2 inches Mixed media on paper, c. 1940 Signed lower left Provenance: Estate of the artist. The drawing will ship from the home of Mr. Gropper's grandson. Bio Throughout his life, William Gropper used his artistic talents to protest social injustice. Born in New York City, he grew up there in poverty and left high school to work as a dishwasher and delivery boy. He eventually began a career in art and was able to study with Robert Henri and George Bellows from 1912 to 1915. He adopted their realistic painting style, and his own work expressed sympathy for common laborers and outrage at society's ills. In 1919 Gropper established a reputation as a political cartoonist working for the New York Tribune. His blunt, forceful style attracted the attention of other publications, and he provided illustrations and cartoons for a variety of magazines, from the left-wing New Masses to mainstream Vanity Fair. Like many social realist artists of the 1930s, Gropper supported liberal political causes, depicting subjects such as the plight of migrant laborers and striking factory workers. In his first gallery exhibition in 1936 at ACA Galleries, Gropper's work was so well received by critics, collectors, and artists that the following year he had two one-man exhibitions at ACA Galleries. In 1937, Gropper traveled west on a Guggenheim Fellowship and visited the Dust Bowl and the Hoover and Grand Coulee Dams, sketching studies for a series of paintings and a mural he painted for the Department of the Interior. That same year he had paintings purchased by both the Metropolitan Museum of Art and the Museum of Modern Art. Gropper exhibited at the 1939 New York World's Fair, Whitney Museum of American Art (1924-55), Art Institute of Chicago (1935-49), Carnegie International (1937-50), Pennsylvania Academy of the Fine Arts (1939-48), and National Academy of Design (1945-48). He was a founder of the Artists Equity Association and member of the National Institute of Arts and Letters. From 1940 to 1945 William Gropper was preoccupied with anti-Nazi cartoons...

Black and white figurative drawing by Texas artist William Anzalone. The drawing depicts nude women dressing up. Signed by the artist at the bottom right. Framed in a beautiful black modern frame. Dimensions Without Frame: H 16.63 in. x W 21.5 in. Artist Biography: William Anzalone was born in Brooklyn, New York, in 1935. He was educated at the Massachusetts Institute of Technology...

Figure and child by Guy Nicod (French 1923 - 2021) watercolour on artist paper, unframed painting : 8 x 5.5 inches provenance: artists estate, France condition: very good and sound ...