Leon Kelly Figurative Drawings and Watercolors

"Fall to Grace" is an original ink and watercolor painting on paper mounted to wood by artist Robert Kraiza measuring 19in height x 9in width. Artist Statement // In my work I invoke a whimsical world inspired by Victorian and Edwardian eras. To me they represent a romantic time period that has roots that extend directly into the modern world, both good and bad. The customs and aesthetics of the period are both fascinating and breathtaking but a vast portion of the population was victim to subjugation. It has since been eradicated on paper but still permeates to this day. I am exploring an imagined supernatural world hidden just out of sight where these woman could escape. This is an evolution from my earlier work set in the same time period with a continuous thread of humans and their animal companions. Through witchcraft these women find strength in their abilities and each other to leave the oppressive world they inhabit behind and escape to the woods to their Covendom, the boundary that defines the territory of their coven. They shed their customs, their corsets, and their concerns at the edge of the forest and gather among the trees to explore their magical potential with their familiars at the side. This body of work is exploring multiple media with a consistent theme and setting; combining watercolor painting, pen and ink illustrations, and graphite drawings. All pieces are created in monochrome on hot press watercolor paper mounted on wood with a gold painted border reminiscent of daguerreotype frames. Watercolor allows me to achieve results ranging from soft ethereal layered washes similar to oil glazes to precise minute details I include in all of my works. Bio // ROBERT KRAIZA (pronounced: cry-zuh) is an illustrator and fine artist who lives and works in Philadelphia, Pennsylvania. He studied Media Arts and Animation at the Art Institute of Philadelphia. Interested in many media, he often paints in monochrome watercolor on a small scale, inspired by the Victorian era and whimsical dreams in both his art and personal aesthetic. Depicting fantasy worlds from the hidden life of nineteenth century witches to miniature children...

“Pleasure Principle”, tempera pencil charcoal on blue paper Check 1stDibs free shipping code for items over $500. Shipped rolled in a tube, well packed. This bold and expressive dra...

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...

Room with a View Male nude, made with ultramarine blue tempera, inspired by Matisse. 70x50cm / 27.5x19.5in Shipped rolled in a tube directly from Florida. Part of Nude Men series. T...

"Pensando & recordando a Luis Caballero" by Celso Castro-Daza From the Duchándome Series Watercolor, pastel, and ink on archival paper Sheet size: 19.5 ...

Duchándome en cuerpo Ajeno May 30th, by Celso Castro-Daza From the Duchándome Series Watercolor and ink on paper Image size: 19.5 in. H x 13.75 in. W Unframed ____________ Undefined by medium, Celso Castro’s works each carry the presence of the artist’s hand through the transparency of their process. Castro’s oeuvre is strongly divided between his photomontage assemblies and watercolor paintings: the prior is marked by the labor-intensive deconstruction of portrait photographs and the latter, by the seemingly frenzied recreation of a past encounter rendered in the drips and scribbles of paint and ink. Both discriminating in what they reveal of the subject, his photomontage and watercolor portraits exude raw sexuality through the combination of Castro’s mark-making and gaze. Celso Castro’s work is a bare-bulb erotic photo foray into the underbelly of Colombia’s drug world. Castro’s labor-intensive, photo-collage works of drug kingpins, smugglers, hitmen, countrymen, street vendors, soldiers, paramilitaries, kidnappers, and pimps pose showing with pride their erect penises...

Pigs on a Trolley - Vintage Picture Book Two-Page Spread Illustration A two-page spread in India ink pen and watercolor by Irene Pattinson (Ameri...

If you are interested in African American Art and in Women in the Arts, I will certainly not need to introduce Lois Mailou Jones (1905-1988). Often associated with the Harlem Renaissance, her work can be found in the collections of the Smithsonian American Art Museum, The Metropolitan Museum of Art, the National Museum of Women in the Arts, the Brooklyn Museum, the Museum of Fine Arts, Boston, Muscarelle Museum of Art, and The Phillips Collection. I am proud to present an original watercolour painting by the artist which dates from the late 1940s or early 1950s. Jones was born in Boston, Massachusetts to a father who became the first African-American to earn a law degree from Suffolk Law School. Jones's parents encouraged her to draw and paint using watercolors during her childhood. She held her first solo exhibition at the age of seventeen in Martha's Vineyard. He career began in the 1930s and she continued to produce art work until her death in 1998 at the age of 92. Her style shifted and evolved multiple times in response to influences in her life, especially her extensive travels. She felt that her greatest contribution to the art world was "proof of the talent of black artists". Her work echoes her pride in her African roots and American ancestry. In 1937, Jones received a fellowship to study in Paris at the Académie Julian, bringing her to France for the first time. The French were appreciative of her paintings and talent and Loïs Mailou Jones was thrilled at the country’s racial tolerance, so different from her reality in the United States. She summered in France annually from 1945 to 1953, sharing studio with her lifelong friend Celine Marie Tabary in Cabris, France. It was during one of these sojourns that the lovely work presented here was created. Our painting depicts the village of Tourettes sur Loup, just north of Nice, in the Provence Cote d'Azur region, about 14 miles from Cabris. Please note its similarities with her painting "Arreau, Hautes-Pyrénées" in the National Museum of Women in the Arts. Her portrayal of the picturesque village nestled in a valley evokes landscape paintings by Paul Cézanne, a stylistic influence she acknowledged. Over the course of the following 10 years, Jones exhibited at the Phillips Collection, Seattle Art Museum, National Academy of Design, the Barnett-Aden Gallery, Pennsylvania's Lincoln University, Howard University, galleries in New York, and the Corcoran Gallery of Art. In 1952, the book Loïs Mailou Jones: Peintures 1937–1951 was published, reproducing more than one hundred of her art pieces completed in France.At the Barnett-Aden Gallery, Jones exhibited with a group of prominent black artists, such as Jacob Lawrence and Alma Thomas. These artists and others were known as the "Little Paris...

“On the Beach”, tempera pencil charcoal on blue paper, frame included. Framed size 35.8x24in shipped framed. Check 1stDibs free shipping code for items over $500. This drawing is a d...

Fun and playful figurative line drawing with three stylized female faces by SusanBrooks (American, b. 1951), 1985. Signed and dated in the lowe...

Emilio Sanchez (1921-1999) created [untitled] “STREET SCENE WITH FRUIT VENDOR” in circa 1950. This unsigned watercolor and came to us directly from the Sanchez estate. It is stamped on the verso "Estate of Emilio Sanchez." This piece is in good to very good condition and painted to the paper's edge. The paper size is 14.88 x 15.25 inches (37.6 x 38.6 cm). “Best known for his architectural paintings and lithographs, Emilio Sanchez (1921-1999) explored the effects of light and shadow to emphasize the abstract geometry of his subjects. His artwork encompasses his Cuban heritage...

From the Duchándome Series Watercolor and ink on archival paper Image size: 19.5 in. H x 13.75 in. W Unframed ____________ Undefined by medium, Celso Castro’s works each carry the presence of the artist’s hand through the transparency of their process. Castro’s oeuvre is strongly divided between his photomontage assemblies and watercolor paintings: the prior is marked by the labor-intensive deconstruction of portrait photographs and the latter, by the seemingly frenzied recreation of a past encounter rendered in the drips and scribbles of paint and ink. Both discriminating in what they reveal of the subject, his photomontage and watercolor portraits exude raw sexuality through the combination of Castro’s mark-making and gaze. Celso Castro’s work is a bare-bulb erotic photo...