Jacob Dhein Figurative Drawings and Watercolors

Red and green pastel portrait study of four faces in different poses, one male and one female, by Visionary artist Clayton Anderson (American, b. 1943). Signed and dated "Clayton 197...

Portrait of an old man done in charcoal by California artist Ralph Edward Joosten (American, 1928-2009). Signed "R. Joosten 82" lower right. Pre...

Watercolor portrait of a clown by Marjorie Blake (American, 1920-1994). Signed "Blake" in the lower right corner. Unframed. Marjorie May Gulley Blake w...

Frederick Bosley was an Impressionist painter of the Boston School who most often depicted portraits, figures and still-lifes. The artist was born in Lebanon, New Hampshire in 1881. He studied at the Museum School in Boston from 1900-1906 with Edmund C. Tarbell (1862-1938) and Frank W. Benson (1862-1951), and then in Europe from 1906-1908. Bosley returned to Boston in 1909, obtaining a studio at the Fenway Studios from 1909-1918. He was to become a teacher in his own right, settling as Director at the Museum School from 1913-1931. His many awards include First prize in the 1920 Concord Art Academy Exhibition and a Gold Medal in the Pennsylvania Academy of Fine Arts Exhibition, 1925. His work may be found in the collections of several institutions, including the Boston Museum of Fine Arts, the Farnsworth Museum, the National Academy of Design and the Concord Academy...

A beautiful 1985 pencil drawing of actress Joan Collins by American artist Louis Nadalini (Italian, 1927-1995). Signed and dated "Nadalini 85" lower right. Unframed. Image, 20"H x 16"L. ARTFORUM article: Louis Nadalini In the last couple of seasons, San Francisco has lost several of its galleries. Some others have just recently begun operating but often with an entirely new group of artists. Some members of those apparently secure gallery stables that went out of business have found their way into other stables, but a larger group is without a place to show. I decided to look into such a person’s studio in my endeavor to find out what is really happening in the Bay Area art world. I went to see Louis Nadalini. His latest painting continues with the lattice of slats protruding forward with two variations of the painting painted on the sides of the slats which are viewable when standing to either side. This was always a very abstract method and he had quite often painted pure abstractions which centered quietly into hypnotic devices of exceptional color richness, but which gave a kaleidoscopic change as you moved past it. Untitled #42 (the most recent painting) has subject matter and was done in a much more painterly way. The side variations were flat in color, and there were some elements seen only in the side views, a skeleton’s arm and a black hand, for example. Nadalini says that he may abandon the lattice altogether if it gets in his way, but so far it seems to work better than it did with the abstractions. He is enthusiastic about the work he is doing, felt very free about making changes, and was, at the same time still happy about work from several years ago and unwilling to think that older work and new work should not be exhibited together. He hasn’t been thinking about galleries for a while. Nadalini goes to sea periodically which gives him time for contemplation as well as for renewing his resources. by —Knute Stiles...

Watercolor portrait of a clown on heavy paper by Marjorie Blake (American, 1920-1994). Signed "M. Blake" in the lower right corner. Unframed. Marjorie ...

Study of a woman in profile by San Francisco artist William Kirchner (20th Century). Signed and dated "W. Kirchner 67" in the lower right corner. Presented in a new charcoal grey mat with foam core backing. Paper size: 18"H x 12"W. Exhibitions, San Francisco 28th Annual Arts Festival 1974, Capricorn Asunder Gallery 1974, Nevada City...

Historical late 19th century portrait of Hiram H. Hobbs, Foreman of the Grand Jury of San Francisco y Richard Langtry Partington (American, ...

Rare turn of the century portrait of J.O. and T.O. Mason, from a daguerreotype photograph, c.1860, by Marion Kavanaugh Wachtel (American, 1876-1954). Portrait c.1900. Signed "Marion...

Portrait of a Mexican girl in church by Joseph Yeager (early-mid 20th Century) on heavy bond watercolor paper with ragged edges. Signed "Joe Yeager" in th...

Watercolor portrait of a young Mexican girl by Joseph Yeager (American, 20th Century). Signed "Joe Yeager" in the lower right corner. This piece is on hea...

Stately portrait of George Arliss by Ivan Opffer (Danish, 1897-1980). Mr. Arliss is depicted wearing his signature monocle, looking directly at the viewer. Although this piece appears to be done rapidly, there is a clear confidence in Opffer's work - he was an accomplished portrait artist - and the resemblance to the subject is unmistakable. George Arliss (born Augustus George Andrews; 10 April 1868 – 5 February 1946) was an English actor, author, playwright, and filmmaker who found success in the United States. He was the first British actor to win an Academy Award – which he won for his performance as Victorian-era British prime minister Benjamin Disraeli in Disraeli (1929) – as well as the earliest-born actor to win the honour. He specialized in successful biopics, such as Disraeli, Voltaire (1933), and Cardinal Richelieu (1935), as well as light comedies, which included The Millionaire (1931) and A Successful Calamity (1932). Signed and dated "Ivan Opffer 1934" in the lower right. Titled "Mr. Arliss" in the lower left. Presented in a new off-white mat with foamcore backing. Mat size: 22"H x 16"W Art size: 17.5"H x 12"W Ivan Opffer (Danish, 1897-1980) was born in Nyborg, Denmark, on June 4, 1897, to a family of Danish scholars and journalists. His brother was Emil Opffer, a Danish merchant seaman and journalist who was known for his relationship with American writer Hart Crane. Ivan was raised in Mexico City and New York, where his anarchist father was the editor of a radical Danish-language newspaper. His involvement in painting and drawing began at an early age. At a summer workshop, he met and studied drawing with Winslow Homer, then went on to study at the National Academy of Design and the Art Students League of New York. When the US entered World War I, Opffer was one of the members of the American Army Camouflage Corps, headed by Homer Saint-Gaudens (whose mother was a relative of Winslow Homer), the son of Augustus Saint-Gaudens. As a camoufleur, Opffer served with other artists and architects, some of whom became well-known, including Barry Faulkner, Sherry Edmundson Fry, Kimon Nicolaides, Robert Lawson, Abraham Rattner, Kerr Eby, and others. It was this same unit, while still in training in at Camp American University in Washington DC, that launched a camp newspaper called The Camoufleur. Only three issues were published before the unit’s deployment to France in late 1917. In the October 31 issue, a satirical portrait by Opffer of Homer Saint-Gaudens (titled “Our Boss”) was published on page 5. After the war, Opffer returned to New York, where he became known for his caricatures of leading Modern writers, among them James Joyce, Edgar Lee Masters, Siegfried Sassoon, George Bernard Shaw, Carl Sandburg, G.K. Chesterton, and Thomas Mann. In the years between the wars, Opffer married Betty à Beckett Chomley, and settled in Paris, where he was a student at the Academie Julliard. He also lived in London and Copenhagen, where his drawings were frequently published in newspapers and magazines. With the outbreak of World War II, he and his family returned to New York and lived in Greenwich Village. Among his friends in that era were William Butler Yeats, F. Scott and Zelda Fitzgerald...