Saul Steinberg Drawings and Watercolor Paintings

Sandy Litchfield brings her magical abstracted landscapes to a new medium in her recent colored pencil drawings. Loose, delicate lines scramble over one another, bringing a diffuse, ...

SOPHIA MILLIGAN 'Guijarros y Agua' Original Artwork (unframed*) ______________ Winter solstice light dancing on shingles and lapping tidal movements, towering rock formations rise ...

This colored pencil drawing on delicate very light-cream (almost white) colored paper was made in 2023 by Amanda Andersen, "Greens I" is one in a series of two green line drawings. ...

One in a series of three abstract paintings made in 2023 by Amanda Andersen, initialed on the back. An array of loose geometric shapes: rectangles, triangles and circles converse wi...

Colorado mountain landscape watercolor painting signed by artist Rita Derjue (1934-2020) depicts Cabins in the Snow in bright tones of blue, yellow, green and red/brown. Signed by the artist in the lower right corner. Presented in a custom frame with archival materials, outer dimensions measure 24 ⅛ x 31 ½ x 1 ¼ inches. Image sight size is 14 ½ x 21 ½ inches. About the Artist: Born Rhode Island, 1934 Artist, educator, mentor and community activist, Derjue is the daughter of European parents whose family members had previous connections with New York and New England. Her drawing talent as a youngster in Rhode Island caught the attention of family friend Johann Groen, a Dutch-born painter and photographer, who encouraged her to spend time touring and studying in Europe to further her art education. In 1956 she earned her Bachelor of Fine Arts degree at the Rhode Island School of Design that emphasized the fundamentals of drawing and design. Her most memorable teacher was Richard Hamilton, whose work was influenced by German Expressionist Max Beckmann and the jazz greats. Her studies from nature and Cubist compositions done at that time reflect her interest in early twentieth-century European modernist painting. She had the opportunity to experience it firsthand during a year of post-graduate work at the renowned Akademie den Bildenden Kunste in Munich, Germany, in 1956-57. She studied with Ernest Geitlinger (1895-1972) whom the Nazi government classified as a “degenerate” artist in the 1930s, preventing him from exhibiting in Germany. After World War II he was one of the co-founders of the Munich artists’ association, Neue Gruppe, in 1946 and played an important role in abstract painting. While studying with him in Munich she produced a number of canvases in a referential abstract style. She also became acquainted with the Blaue Reiter group that flourished in the early twentieth century and whose expressionism strongly influenced her color palette and painting style. She particularly admired the work of Blaue Reiter co-founder and Wassily Kandinsky’s long-time partner, Gabriele Münter, whose work she studied at the Lenbachhaus in Munich and at the Gabriele Münter Haus and the Schlossmuseum in Murnau south of Munich. Derjue’s immersion in German Expressionism imparted a bold, simplified style to her work. In 1958 with a friend from Munich she went to Mexico for a year, studying with artist Frank Gonzalez in his studio in San Angel, Mexico City, and with Canadian artist, Toni Onley, in San Miguel de Allende. Onley had recently won a scholarship to the Instituto Allende to study mural and fresco painting with David Siqueiros, one of the three greats of Mexican muralism. At the Instituto Onley began painting large black-and-white canvases in an abstract impressionistic style which he imparted to Derjue, who thereafter began exploring color and space in the dimensions of her own large compositions. With writer Gregory Strong, he subsequently published Onley’s Arctic and his autobiography, The Tony Onley Story. After returning to the United States, she worked as a graphic designer for Little, Brown and Company, publishers in Boston. She began dating her future husband, Carle Zimmerman, whom she met earlier in Europe and whom she married in 1960. Joining him at Cornell University where he was completing his Ph.D degree, she earned her Master of Arts degree at the same institution and participated in group shows at the Herbert F. Johnson Museum and the Munson-Williams-Proctor Arts Institute in upstate New York. In 1963 Derjue and her husband relocated to Littleton, Colorado, where he spent his entire career, first as a research engineer and later as a departmental manager for the Marathon Oil...

Modernist painting of trees, interior forest scene by Colorado artist, Richard Sorby (1911-2001). Painted in dark colors of green, blue and black with brown, orange and white. Water...

Walter Anderson ( American, 1903 - 1965) Hydrangeas, circa 1950 Mixed media on paper 11 x 8 1/2 inches Provenance: Luise Ross Gallery, New York Private Collection, New Jersey Acquired from the estate of the above, 2021 Walter Anderson firmly believed that quality art was an important part of life and should be made available to everyone. As he said, "There should be simple, good decorations, to be sold at prices to rival the five-and-ten." Noticing that only poor quality art was available in stores and little was available for children, he resolved to make art which could be reproduced easily and sell inexpensively — linoleum block prints. This technique enabled him to provide affordable, quality art. The technique of linoleum block printing is a simple concept; however, it requires much skill and talent to actually produce memorable art. Anderson purchased surplus "battleship linoleum," thicker than ordinary linoleum with a burlap backing for better support, to create his blocks. During the mid-1940s, he created almost 300 linocuts working in the attic of the sea-side plantation house, Oldfields, his wife's family home in Gautier. Masses of linoleum chips accumulated at the foot of the attic stairs as he often worked night and day. He began with sketching out a design directly on the linoleum. Once he had carved the image into the surface, he used the back of faded, surplus stock wallpaper that a friend sent him, laying long strips on top of the inked linoleum. A roller made of sewer pipe filled with sand served as his press. When the print was completed, he often colored it by hand with bold strokes and vivid colors. The prints were sold at Shearwater Pottery, the family business, for a mere dollar a foot. But "what about a well-designed fairy tale for a child's room?" he asked himself. Since there was a lack of affordable art for children, much of his work with linoleum blocks focused on subjects for children. He depicted fables and fairy tales ranging from Arabian Nights, to Germany and the Grimm Brothers' Rapunzel, to the French story of The White Cat, to the Greek tales such as Europa and the Bull, and to tales from China, India, and other cultures. Anderson also created "mini" books featuring the alphabet and Robinson Cat. The blocks are not only alive with the story being depicted, but they are also filled with designs taken from Best-Maugard's Method for Creative Design. Swirls, half-circles and zig-zag lines fill every available space on the linoleum block making them come alive and capture their audience. But fairy tales, children's verses and the "mini" books, consisting of about 90 blocks, were not the sole subject of Anderson's linoleum block prints. In total, he created approximately 300 linoleum blocks with subjects ranging from coastal flora and fauna, coastal animals, and sports and other coastal activities. Anderson even created linoleum blocks to be used to print tablecloths and clothing, some worn by his own children. Color and subjects of the linoleum block prints were not the only things that got them noticed. In 1945 when Anderson was creating these prints, the standard size of linoleum block prints was only 12 by 18 inches. These small dimensions were due to the common size of the paper available and the restrictions made by national competitions. Since Anderson used wallpaper...

"Mill Near Plainfield, New Hampshire" is an original, signed watercolor painting by artist Charles Partridge Adams (1858-1942), circa 1900. Singed by the artist in the lower left corner. Portrays a mill along a river with trees and clouds, painted in shades of brown, green, gray, and blue. Presented in a custom frame, outer dimensions measure 13 ¾ x 12 ¼ x 1 ¼ inches. Image size is 7 x 5 inches. Expedited and international shipping is available - please contact us for a quote. About the Artist: Born Massachusetts, 1858 Died 1942 Born in Franklin, Massachusetts, Charles Partridge Adams moved with his mother and two sisters to Denver, Colorado, in 1876 in an effort to cure the two girls who suffered from tuberculosis. In Denver, Adams found work at the Chain and Hardy Bookstore. He received his first, and only, art training from the owner's wife, Helen Chain. Mrs. Chain, a former pupil of George Inness, provided instruction and encouragement to the young artist and introduced him to other artists in the area including Alexander Phimister Proctor...

Kenny Scharf Original drawing on Tony Shafrazi poster, signed and inscribed to Andy Warhol's last boyfriend Jon Gould, 1984 Permanent marker drawing on Kenny Scharf Tony Shafrazi Gallery exhibition poster (hand signed and inscribed by Kenny Scharf) Boldly signed and inscribed to Andy Warhol's last boyfriend Jon Gould Frame included: Framed in a museum quality wood frame with UV plexiglass. Measurements: Frame: 35 x 28.5 x 1.5 inches Print 28.25 x 22 inches Own a piece of Pop Art history! This is a unique drawing hand signed and inscribed by Kenny Scharf, done on a vintage collectible 1984 poster from the legendary Tony Shafrazi Gallery. If you saw "The Andy Warhol Diaries" on Netflix, you'd know about Warhol's relationship with Jon Gould - Andy's last boyfriend; tragically, Warhol would become Gould's last boyfriend as well, when, soon after, Gould would die of AIDS at the young age of 33 Kenny Scharf created an original drawing, done in marker, and inscribed it to Jon Gould (featured prominently in Andy Warhol's Diaries and the eponymous Netflix series) - and it had not been seen since the 1980s. Jon Gould was a New England educated former Vice President of Corporate Communications at Paramount Pictures - a Boston Brahmin whose real claim to fame was as Andy Warhol's last boyfriend. This work was acquired from the widely publicized sale of the collection of Jon Gould - -a treasure trove of valuable gifts and art works by Warhol and others like Kenny Scharf, Basquiat and Keith Haring to Gould - that had not been seen in nearly four decades. This is one of the works from that impressive sale. Below are links to two of the many articles about the collection of Jon Gould in the New York Times, Artnet News and the New York Post respectively. About Kenny Scharf: Kenny Scharf (b. 1958, United States) is a renowned artist affiliated with the 1980’s East Village Art movement in New York. Scharf developed a distinct and uniquely personal artistic style in paintings as well as sculpture, alongside his mentor Andy Warhol, and contemporaries like Jean-Michel Basquiat and Keith Haring with whom he pioneered contemporary street art. References to popular culture reoccur throughout his works, such as appropriated cartoon characters from the Flintstones and Jetsons, as well as imagined anthropomorphic creatures. Through ecstatic compositions and a dazzling color palette, Scharf presents an immersive viewing experience that is both intimate and fresh. Scharf’s multifaceted practice—spanning painting, sculpture, installation work, murals, performance and fashion—reflects his dedication to the creation of dynamic forms of art that deconstruct existing artistic hierarchies, echoing the philosophy of Pop artists. Yet Scharf’s artistic significance expands beyond the art historical terrain of Pop Art; the artist instead coined the term “Pop Surrealist” to describe his one-of-a-kind practice. His inclusion in the 1985 Whitney Biennial marked the start of his international phenomenon, a reputation that continues to thrive today. Courtesy of Almine Rech MORE ABOUT JON GOULD: Warhol wrote extensively on Jon Gould in his diaries. In July, 2022, when the Netflix series "The Andy Warhols Diaries" came out, the New York Post (among many other publications) ran a major feature article on Warhol's relationship with Gould and on this very sale: It reads, "When Harriet Woodsom Gould died in 2016 in her nineties, she left behind a trove of family heirlooms dating back to the 1700s in her Amesbury, Mass., home. Yet in her attic, she had a secret veritable shrine to pop art. There, she had stashed her late son Jon Gould’s belongings for decades since his death in 1986 from AIDS. He had vases painted by Jean-Michel Basquiat, works by Keith Haring and dozens and dozens of gifts — photos, valentines, sketches, letters and more — from pop god Andy Warhol. “My mother kept everything,” Jon’s twin brother, Jay Gould, told The Post. Jay knew his brother “had some type of relationship” with Warhol in the 1980s, though Jon always remained discreet about it. “We were very close, identical twins, but we never talked a lot about his sexuality,” Jay, now 68, explained. “It was a different time.” Yet, he was still stunned to read the poetry and love notes Jon wrote to the older artist. “I didn’t realize the relationship was as deep as it was.” Actually, no one really knew. Gould was Warhol’s last romance, a young Paramount executive with floppy hair and preppy good looks who died tragically at 33. And though Warhol frequently mentioned him in his famed diaries, published posthumously in 1989, the artist’s dashed-off musings gave the impression that Jon was more of a crush than a genuine partner...Gould didn’t so much enter into Warhol’s life as Warhol willed him into it. It was April 1981, and Warhol, then 52, was still reeling from his breakup with Jed Johnson... Jed left that December, and that spring Warhol confessed to feeling lonely: “I’ve got these desperate feelings that nothing means anything. And then I decide that I should try to fall in love, and that’s what I’m doing now with Jon Gould.” Gould was a 26-year-old Paramount exec: a New England WASP with a lithe, strong physique and charismatic personality, who looked straight. Warhol reasoned: “Jon is a good person to be in love with because he has his own career, and I can develop movie ideas with him, you know? And maybe he can even convince Paramount to advertise in Interview, too. Right? So my crush on him will be good for business.” Warhol began courting Gould with a vengeance, sending extravagant bouquets of roses to his office at Paramount. He even offered their mutual friend, the photographer Christopher Makos, a fancy watch if he could get Gould to be his boyfriend. “I guess he never got loved,” Makos says in the series. “Because I didn’t get my watch.” (Jay Gould also tells the camera that his brother had admitted that he was in a relationship but that he said they didn’t have sex.) At first, Gould resisted Warhol’s attention, but eventually the two began spending a lot of time together, though Gould would frequently pull away if things got too intense, and he often would tell Warhol not to write about him in his diary. “I think my brother was concerned about his career at that time,” Jay Gould said. But the younger man attended parties and art events with him, invited the artist skiing with his family in Aspen and even for a time moved into his place on 66th Street. “I love going out with Jon because it’s like being on a real date,” Warhol wrote early in their relationship. “He’s tall and strong and I feel like he can take care of me.” Yet it turned out that Warhol would have to take care of Gould. On Feb. 4, 1984, Jon was admitted to New York Hospital with pneumonia — though it was understood that he had AIDS. Warhol stayed with him in the hospital every night for the 30 days he was there, despite his fear of hospitals since getting shot and his fear of getting AIDS. (Warhol couldn’t bring himself to talk about Gould’s illness in the diary, but his editor notes that when Gould was released March 7, Warhol instructed his housekeepers to wash Jon’s clothes and dishes “separate from mine.”). Around 1985, Warhol began working on his massive series of 100 works based on Da Vinci’s “The Last Supper...

Multi-layered collotype by Patricia A. Pearce (American, b. 1948). This piece is unsigned, but was acquired with a collection of other Pearce work. No frame. Patricia Pearce (Americ...

Takashi Murakami Unique drawing (Two Flowers) created for the Modern Art Museum, Ft. Worth, Texas, 2018 Original drawing done in marker, and bound on title page of hardback monograph...

American Scene Industrial Modern Lamp Magazine Illustration Mid-Century Antonio Petruccelli (1907 - 1994) Oil Terminal Lamp Magazine, published, c. 1930s. 15 3/4 X 12 inches (image) 18 X 14 inches board Gouache on board Signed lower right unframed BIOGRAPHY: Antonio Petruccelli (1907-1994) began his career as a textile designer. He became a freelance illustrator in 1932 after winning several House Beautiful cover illustration contests. In addition to 24 Fortune magazine covers, four New Yorker covers, several for House Beautiful, Collier’s, and other magazines he did numerous illustrations for Life magazine from the 1930s – 60s. ‘Tony was Mr. Versatility for Fortune. He could do anything, from charts and diagrams to maps, illustrations, covers, and caricatures,’ said Francis Brennan, the former art director for Fortune. Over the course of his career, Antonio won several important design awards, designing a U.S. Postage Stamp Commemorating the Steel Industry and designing the Bicentennial Medal...