Patrick Block Drawings and Watercolor Paintings

Charming mid century watercolor painting of a horse in winter with a barn in the background by Ernest Smythe (American/England 1881-1950). Signed "ERNEST SMYTHE" in lower left corner. Presented in a tan mat with a wood frame and glass. Image size: 25"H x 19.75"W As William Ernest Smyth, he was born at 13 Commercial Road, Ipswich on 9 April 1874 but was not baptised at St Michael's, Ipswich until 23 October 1885, when his birth date is given as 17 February 1874, youngest son of artist Thomas Smythe...

Little Benny Wanted a Pony: Interior illustration. Pages 28-29 Original Art ( Little Golden Books - Simon and Schuster, 1950) Two-page spread of little Benny contemplating his quest ...

Amanda Immurs, an artist hailing from Hamilton, Canada, creates enchanting watercolor artworks that bring whimsical scenes of children, animals, and flora to life. Immurs' art is gro...

Fox amidst the Hay Bales on a Misty Morning in a Field in the English Countryside, by British Artist Andrew Hutchinson Art measures 22 x 10 inches F...

John Livzey Ridgeway (American, 1859-1947) Signed: J. L. Ridgway Imperial Woodpecker, aka Ivory Billed Woodpecker, c. 1898 Gifted to Doris B...

Robert Konersman (American, 1889 - 1975) Signed: Konersman (Lower, Left) " Reading Before Bed " c. 1900-1920 Watercolor and Gouache on Paper Laid on Illustration Board Image Size...

This series was inspired by a 1950’s era instruction manual found while clearing out my father’s basement workshop. The How To Light A Model manual employed voluptuous female models to teach lighting techniques to amateur photographers such as my father. Diagrams plot the prescribed direction of the lights. The nude women hold the pose, their lips bright red and their feet dirty from the studio floor. As naked props for the authoritarian photographer, their vulnerability seems palpable. This work visualizes the human condition as a balance between feral and fabricated worlds. Vivid, oversized creatures embody instinctual energy. Wax seals, gold spheres and text-like marks signify rational structures. One speaks in a whisper, the other in a hiss. Winifred McNeill...

Welcome to the World. A blue-eyed child in a wide-rimmed hat with flowers and an adult chicken greet the emergence of a chick. The charming illustration is titled " Karen and Etta ( the chicken ) have a Little Chick " Notice the whimsical touch of a piece of egg shell that sits on the chicks head like a little white hat. Signed lower right. unframed Alice Rose[1] Provensen (née Twitchell; August 14, 1918[2] – April 23, 2018[3]) and Martin Provensen (July 10, 1916 – March 27, 1987) were an American couple who illustrated more than 40 children's books together, 19 of which they also wrote and edited.[4] According to Alice, "we were a true collaboration. Martin and I really were one artist."[4] Biographies Their early lives were similar. Both were born in Chicago and moved to California when they were twelve.[5] Both received scholarships to the Art Institute of Chicago, and both attended the University of California, though at separate campuses. After college, Alice went to work with Walter Lantz Studio, the creators of Woody Woodpecker, and Martin took work with the Walt Disney Studio, where he collaborated on Pinocchio, Fantasia, and Dumbo. The pair met in 1943 when Martin, working as a creator of training films for the American military, was assigned to the Walter Lantz Studio. They were married in 1944 and settled in Washington, D.C., where they worked on war-related projects. After the war, they moved to New York City where a friend helped them get their first job, illustrating The Fireside Book of Folk Songs.[5] They illustrated several Little Golden Books including The Color Kittens by Margaret Wise Brown (1949). In 1952, Tony the Tiger, designed by Martin, debuted as a Kellogg's mascot. The Provensens were a runner-up for the 1982 Caldecott Medal as illustrators of A Visit to William Blake's Inn by Nancy Willard...

Signed lower right, 'Jack B. Bevier' for Jack Bernard Bevier (American, 1923-1996) and painted circa 1985. Born in Michigan, Bevier was primarily a watercolor painter who specialized in rural country landscapes, seascapes of the Monterey Peninsula, boat and harbor scenes. Jack Bevier was educated in Ann Arbor, Michigan before serving 3 years in the Army Air Corp during World War II. After the war he attended the Art Institute of Chicago where he graduated with honors. After six years of painting and working in the commercial art business in Chicago, Bevier moved to California. He settled in the Salinas area on the Monterey Peninsula in 1956 and operated a gallery in Carmel, California for many years. His works have been exhibited widely and with success including at the National Watercolor Society...

Signed lower right, 'L. G. Cohen' for Lois Elaine Green Cohen (American, 1919-2012) and painted circa 1975. Previously with: James Snidle Fine Art, Rancho Mirage, CA Born in Chicago...

This series was inspired by a 1950’s era instruction manual found while clearing out my father’s basement workshop. The How To Light A Model manual employed voluptuous female models to teach lighting techniques to amateur photographers such as my father. Diagrams plot the prescribed direction of the lights. The nude women hold the pose, their lips bright red and their feet dirty from the studio floor. As naked props for the authoritarian photographer, their vulnerability seems palpable. This work visualizes the human condition as a balance between feral and fabricated worlds. Vivid, oversized creatures embody instinctual energy. Wax seals, gold spheres and text-like marks signify rational structures. One speaks in a whisper, the other in a hiss. Winifred McNeill...

This series was inspired by a 1950’s era instruction manual found while clearing out my father’s basement workshop. The How To Light A Model manual employed voluptuous female models to teach lighting techniques to amateur photographers such as my father. Diagrams plot the prescribed direction of the lights. The nude women hold the pose, their lips bright red and their feet dirty from the studio floor. As naked props for the authoritarian photographer, their vulnerability seems palpable. This work visualizes the human condition as a balance between feral and fabricated worlds. Vivid, oversized creatures embody instinctual energy. Wax seals, gold spheres and text-like marks signify rational structures. One speaks in a whisper, the other in a hiss. Winifred McNeill...