Figurative Drawings and Watercolors

A Finely Drawn, 1930s Art Deco Modern Female Figure Study, Portrait of a Sleeping Young Woman by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). An exquisite studio portrait ...

Movies, TV and magazines are constant source of inspiration. Fame, as fleckring and shallow it can be sometimes, is very intriguing to him. The worlds of fashion, society and pop cu...

A Finely Drawn, 1930s Art Deco Modern Female Figure Study, Portrait of a Young Woman in Profile by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). An exquisite studio portrai...

Jonas Carl Linnerhielm (1758–1829) Apollo and Daphne Signed and dated “J. C. L. 1807” Pencil on cardboard
18.4 × 14.2 cm (7 ¼ × 5 ⅝ in); image 16.8 × 13.2 cm (6 ⅝ × 5 ¼ in) framed 3...

Red chalk on cream laid paper, 6 3/8 x 7 inches (160 x 176 mm), the full sheet. In very good condition with minor toning and some modern notations in pencil on the verso, as well as ...

A Fine, 1930s Modern Academic Anatomical Figure Study Drawing of a Seated Male Nude Model (Torso) by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). An exceptionally well exe...

'Look Homeward, Angel', Anthony Perkins Costume, Broadway, Motley, Academy Award, LACMA, Guggenheim Museum ----------------- Initialed lower right, 'DJ', for Dorothy Jeakins (Ameri...

Roy Lichtenstein Handwritten note on card ink on paper hand signed by Roy Lichtenstein The card reads "Thank you so much for the wonderful prints Very kind of you to send them to me Best regards, Roy Lichtenstein This card depicts Roy Lichtenstein's American Indian Theme II (from American Indian Theme Series), 1980, Woodcut in colors on Suzuki handmade paper Provenance: This card was acquired from Dan Pope, a longtime CBS photographer and cameraman, who had amassed a superb collection of autographs by visual artists over many decades. This work has been elegantly floated and framed in a museum quality wood frame under UV plexiglass. Measurements: Framed 14.75 inches vertical by 11.5 horizontal by 1.5 inches depth Card (image) Roy Lichtenstein Biography Roy Lichtenstein was one of the most influential and innovative artists of the second half of the twentieth century. He is preeminently identified with Pop Art, a movement he helped originate, and his first fully achieved paintings were based on imagery from comic strips and advertisements and rendered in a style mimicking the crude printing processes of newspaper reproduction. These paintings reinvigorated the American art scene and altered the history of modern art. Lichtenstein’s success was matched by his focus and energy, and after his initial triumph in the early 1960s, he went on to create an oeuvre of more than 5,000 paintings, prints, drawings, sculptures, murals and other objects celebrated for their wit and invention. Roy Fox Lichtenstein was born on October 27, 1923, in New York City, the first of two children born to Milton and Beatrice Werner Lichtenstein. Milton Lichtenstein (1893–1946) was a successful real estate broker, and Beatrice Lichtenstein (1896–1991), a homemaker, had trained as a pianist, and she exposed Roy and his sister Rénee to museums, concerts and other aspects of New York culture. Roy showed artistic and musical ability early on: he drew, painted and sculpted as a teenager, and spent many hours in the American Museum of Natural History and the Museum of Modern Art. He played piano and clarinet, and developed an enduring love of jazz, frequenting the nightspots in Midtown to hear it. Lichtenstein attended the Franklin School for Boys, a private junior high and high school, and was graduated in 1940. That summer he studied painting and drawing from the model at the Art Students League of New York with Reginald Marsh. In September he entered Ohio State University (OSU) in Columbus in the College of Education. His early artistic idols were Rembrandt, Daumier and Picasso, and he often said that Guernica (1937; Museo Reina Sofía, Madrid), then on long-term loan to the Museum of Modern Art, was his favorite painting. Even as an undergraduate, Lichtenstein objected to the notion that one set of lines (one person’s drawings) “was considered brilliant, and somebody’s else’s, that may have looked better to you, was considered nothing by almost everyone.”i Lichtenstein’s questioning of accepted canons of taste was encouraged by Hoyt L. Sherman, a teacher whom he maintained was the person who showed him how to see and whose perception-based approach to art shaped his own. In February 1943, Lichtenstein was drafted, and he was sent to Europe in 1945. As part of the infantry, he saw action in France, Belgium and Germany. He made sketches throughout his time in Europe and, after peace was declared there, he intended to study at the Sorbonne. Lichtenstein arrived in Paris in October 1945 and enrolled in classes in French language and civilization, but soon learned that his father was gravely ill. He returned to New York in January 1946, a few weeks before Milton Lichtenstein died. In the spring of that year, Lichtenstein went back to OSU to complete his BFA and in the fall he was invited to join the faculty as an instructor. In June 1949, he married Isabel Wilson Sarisky (1921–80), who worked in a cooperative art gallery in Cleveland where Lichtenstein had exhibited his work. While he was teaching, Lichtenstein worked on his master’s degree, which he received in 1949. During his second stint at OSU, Lichtenstein became closer to Sherman, and began teaching his method on how to organize and unify a composition. Lichtenstein remained appreciative of Sherman’s impact on him. He gave his first son the middle name of “Hoyt,” and in 1994 he donated funds to endow the Hoyt L. Sherman Studio Art Center at OSU. In the late 1940s and early 1950s, Lichtenstein began working in series and his iconography was drawn from printed images. His first sustained theme, intimate paintings and prints in the vein of Paul Klee that poked lyrical fun at medieval knights, castles and maidens, may well have been inspired by a book about the Bayeux Tapestry. Lichtenstein then took an ironic look at nineteenth-century American genre paintings he saw in history books, creating Cubist interpretations of cowboys and Indians spiked with a faux-primitive whimsy. As with his most celebrated Pop paintings of the 1960s, Lichtenstein gravitated toward what he would characterize as the “dumbest” or “worst” visual item he could find and then went on to alter or improve it. In the 1960s, commercial art was considered beneath contempt by the art world; in the early 1950s, with the rise of Abstract Expressionism, nineteenth-century American narrative and genre paintings were at the nadir of their reputation among critics and collectors. Paraphrasing, particularly the paraphrasing of despised images, became a paramount feature of Lichtenstein’s art. Well before finding his signature mode of expression in 1961, Lichtenstein called attention to the artifice of conventions and taste that permeated art and society. What others dismissed as trivial fascinated him as classic and idealized—in his words, “a purely American mythological subject matter.”ii Lichtenstein’s teaching contract at OSU was not renewed for the 1951–52 academic year, and in the autumn of 1951 he and Isabel moved to Cleveland. Isabel Lichtenstein became an interior decorator specializing in modern design, with a clientele drawn from wealthy Cleveland families. Whereas her career blossomed, Lichtenstein did not continue to teach at the university level. He had a series of part-time jobs, including industrial draftsman, furniture designer, window dresser and rendering mechanical dials for an electrical instrument company. In response to these experiences, he introduced quirkily rendered motors, valves and other mechanical elements into his paintings and prints. In 1954, the Lichtensteins’ first son, David, was born; two years later, their second child, Mitchell, followed. Despite the relative lack of interest in his work in Cleveland, Lichtenstein did place his work with New York dealers, which always mattered immensely to him. He had his first solo show at the Carlebach Gallery in New York in 1951, followed by representation with the John Heller Gallery from 1952 to 1957. To reclaim his academic career and get closer to New York, Lichtenstein accepted a position as an assistant professor at the State University of New York at Oswego, in the northern reaches of the state. He was hired to teach industrial design, beginning in September 1957. Oswego turned out to be more geographically and aesthetically isolated than Cleveland ever was, but the move was propitious, for both his art and his career. Lichtenstein broke away from representation to a fully abstract style, applying broad swaths of pigment to the canvas by dragging the paint across its surface with a rag wrapped around his arm. At the same time, Lichtenstein was embedding comic-book characters figures such as Mickey Mouse and Donald Duck in brushy, expressionistic backgrounds. None of the proto-cartoon paintings from this period survive, but several pencil and pastel studies from that time, which he kept, document his intentions. Finally, when he was in Oswego, Lichtenstein met Reginald Neal, the new head of the art department at Douglass College, the women’s college of Rutgers University, in New Brunswick, New Jersey. The school was strengthening and expanding its studio art program, and when Neal needed to add a faculty member to his department, Lichtenstein was invited to apply for the job. Lichtenstein was offered the position of assistant professor, and he began teaching at Douglass in September 1960. At Douglass, Lichtenstein was thrown into a maelstrom of artistic ferment. With New York museums and galleries an hour away, and colleagues Geoffrey Hendricks and Robert Watts at Douglass and Allan Kaprow and George Segal at Rutgers, the environment could not help but galvanize him. In June 1961, Lichtenstein returned to the idea he had fooled around with in Oswego, which was to combine cartoon characters from comic books with abstract backgrounds. But, as Lichtenstein said, “[I]t occurred to me to do it by mimicking the cartoon style without the paint texture, calligraphic line, modulation—all the things involved in expressionism.”iii Most famously, Lichtenstein appropriated the Benday dots, the minute mechanical patterning used in commercial engraving, to convey texture and gradations of color—a stylistic language synonymous with his subject matter. The dots became a trademark device forever identified with Lichtenstein and Pop Art. Lichtenstein may not have calibrated the depth of his breakthrough immediately but he did realize that the flat affect and deadpan presentation of the comic-strip panel blown up and reorganized in the Sherman-inflected way “was just so much more compelling”iv than the gestural abstraction he had been practicing. Among the first extant paintings in this new mode—based on comic strips and illustrations from advertisements—were Popeye and Look Mickey, which were swiftly followed by The Engagement Ring, Girl with Ball and Step-on Can with Leg. Kaprow recognized the energy and radicalism of these canvases and arranged for Lichtenstein to show them to Ivan Karp, director of the Leo Castelli Gallery. Castelli was New York’s leading dealer in contemporary art, and he had staged landmark exhibitions of Jasper Johns and Robert Rauschenberg in 1958 and Frank Stella in 1960. Karp was immediately attracted to Lichtenstein’s paintings, but Castelli was slower to make a decision, partly on account of the paintings’ plebeian roots in commercial art, but also because, unknown to Lichtenstein, two other artists had recently come to his attention—Andy Warhol and James Rosenquist—and Castelli was only ready for one of them. After some deliberation, Castelli chose to represent Lichtenstein, and the first exhibition of the comic-book paintings was held at the gallery from February 10 to March 3, 1962. The show sold out and made Lichtenstein notorious. By the time of Lichtenstein’s second solo exhibition at Castelli in September 1963, his work had been showcased in museums and galleries around the country. He was usually grouped with Johns, Rauschenberg, Warhol, Rosenquist, Segal, Jim Dine, Claes Oldenburg, Robert Indiana and Tom Wesselmann. Taken together, their work was viewed as a slap in the face to Abstract Expressionism and, indeed, the Pop artists shifted attention away from many members of the New York School. With the advent of critical and commercial success, Lichtenstein made significant changes in his life and continued to investigate new possibilities in his art. After separating from his wife, he moved from New Jersey to Manhattan in 1963; in 1964, he resigned from his teaching position at Douglass to concentrate exclusively on his work. The artist also ventured beyond comic book subjects, essaying paintings based on oils by Cézanne, Mondrian and Picasso, as well as still lifes and landscapes. Lichtenstein became a prolific printmaker and expanded into sculpture, which he had not attempted since the mid-1950s, and in both two- and three-dimensional pieces, he employed a host of industrial or “non-art” materials, and designed mass-produced editioned objects that were less expensive than traditional paintings and sculpture. Participating in one such project—the American Supermarket show in 1964 at the Paul Bianchini Gallery, for which he designed a shopping bag—Lichtenstein met Dorothy Herzka (b. 1939), a gallery employee, whom he married in 1968. The late 1960s also saw Lichtenstein’s first museum surveys: in 1967 the Pasadena Art Museum initiated a traveling retrospective, in 1968 the Stedelijk Musem in Amsterdam presented his first European retrospective, and in 1969 he had his first New York retrospective, at the Solomon R. Guggenheim Museum. Wanting to grow, Lichtenstein turned away from the comic book subjects that had brought him prominence. In the late 1960s his work became less narrative and more abstract, as he continued to meditate on the nature of the art enterprise itself. He began to explore and deconstruct the notion of brushstrokes—the building blocks of Western painting. Brushstrokes are conventionally conceived as vehicles of expression, but Lichtenstein made them into a subject. Modern artists have typically maintained that the subject of a painting is painting itself. Lichtenstein took this idea one imaginative step further: a compositional element could serve as the subject matter of a work and make that bromide ring true. The search for new forms and sources was even more emphatic after 1970, when Roy and Dorothy Lichtenstein bought property in Southampton, New York, and made it their primary residence. During the fertile decade of the 1970s, Lichtenstein probed an aspect of perception that had steadily preoccupied him: how easily the unreal is validated as the real because viewers have accepted so many visual conceptions that they don’t analyze what they see. In the Mirror series, he dealt with light and shadow upon glass, and in the Entablature series, he considered the same phenomena by abstracting such Beaux-Art architectural elements as cornices, dentils, capitals and columns. Similarly, Lichtenstein created pioneering painted bronze sculpture that subverted the medium’s conventional three-dimensionality and permanence. The bronze forms were as flat and thin as possible, more related to line than volume, and they portrayed the most fugitive sensations—curls of steam, rays of light and reflections on glass. The steam, the reflections and the shadow were signs for themselves that would immediately be recognized as such by any viewer. Another entire panoply of works produced during the 1970s were complex encounters with Cubism, Futurism, Purism, Surrealism and Expressionism. Lichtenstein expanded his palette beyond red, blue, yellow, black, white and green, and invented and combined forms. He was not merely isolating found images, but juxtaposing, overlapping, fragmenting and recomposing them. In the words of art historian Jack Cowart, Lichtenstein’s virtuosic compositions were “a rich dialogue of forms—all intuitively modified and released from their nominal sources.”v In the early 1980s, which coincided with re-establishing a studio in New York City, Lichtenstein was also at the apex of a busy mural career. In the 1960s and 1970s, he had completed four murals; between 1983 and 1990, he created five. He also completed major commissions for public sculptures in Miami Beach, Columbus, Minneapolis, Paris, Barcelona and Singapore. Lichtenstein created three major series in the 1990s, each emblematic of his ongoing interest in solving pictorial problems. The Interiors, mural-sized canvases inspired by a miniscule advertisement in an Italian telephone...

Robert Indiana Untitled homage to Ellsworth Kelly (Acquired from the studio of Robert Indiana), 1959 Watercolor and pencil on Plover Bond paper This is an original, hand signed and d...

This piece, titled "Wanderer 17" is an original artwork by Seth Clark as part of his newest solo exhibition, "Passing Through". made of collage, charcoal, pastel, acrylic, and graphi...

John Rabone Harvey ( 1966 - 1922) graphic and chalk deep green artist paper , unframed artist paper : 7 x 5.5 inches Provenance: private collection Condition: very good condition Ha...

A Whimsical 1950s Mid-Century Modern Abstract Portrait Study (Composite Drawings) by Noted Chicago Artist, Harold Haydon (Am. 1909-1994). A humorous and visually striking sheet of a...

A Fine, 1930s Modern Academic Anatomical Figure Study Drawing of a Seated Male Nude Model (Torso) by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). An exceptionally well exe...

A Fine 1930s, Modern Academic Pastel Figure Study of a Seated Male Nude Model by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). An exceptionally well executed, early 1930s p...

This piece, titled "Wanderer 16" is an original artwork by Seth Clark as part of his newest solo exhibition, "Passing Through". made of collage, charcoal, pastel, acrylic, and graphi...

Watercolor on paper realized by Mino Maccari in 1950s. Hand signed in pencil lower right. Some minor folds, otherwise ver good condition.

In this poetic lakeside scene, Hilding Werner transports the viewer to a tranquil Scandinavian summer night at the turn of the century. Four couples dance gaily upon a wooden raft or...

Interior design paintings. The work was done with ink and watercolor on watercolor paper 300g. The work is 11 by 15 inches in size framed (gold) with a glass on a mat board in white ...

The Garden View French School, early 20th century signed with initials lower corner watercolour painting on artist paper, framed Glass covering framed: 13 x 10.5 inches board: 10 x 8...

A Very Finely Drawn 1930s Figure Study of a Young Male Nude Model (Shoulder, Arm & Torso) by Notable Chicago Modern Artist, Harold Haydon (Am. 1909-1994). An early charcoal drawing...

A Stylish, 1940s Art Deco Cubist Drawing of a Seated Female, "The Telephone Call", by Note Chicago Modern Artist, Harold Haydon (Am. 1909-19940. A striking charcoal drawing executed...

Charles Burdick, American (1924 - ) - Jazz Band III, Year: circa 1970, Medium: Ink on paper, signed l.l., Size: 7 in. x 5.5 in. (17.78 cm x 13.97 cm), Frame Size: 14 x 13 inches

A Fine 1930s Modern Academic Figure Study Drawing, Depicting an Artist's Sketch Class and a Seated Young Male Mode by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). An excep...

3942 Antique gouache and watercolor on paper set in a period 19th century frame Image size 10x5.5"

Pastel or Tempera on paper. Judaica Shtetl scene of village. Anatoli Lwowitch Kaplan was a Russian painter, sculptor and printmaker, whose works often reflect his Jewish origins. his...

Joseph Glasco (American, 1925–1996) Head I 1973 Ink on paper Signed and dated lower right 12 x 10 inches 15.75 x 13.5 inches, framed Joseph Glasco was born in Paul’s Valley, Oklahom...

An illuminated page from a book likely in reference to palace life during Emperor Jahangir's reign over the Mughal Empire. Circa 1750. Gouache and ink with gold heightening on cre...

China ink drawing realized by Mino Maccari in the mid-20th Century. Hand signed lower right. Very good condition.

A Fabulous, 1951 Mid-Century Modern Abstract Portrait of a Man by Noted Chicago Artist, Harold Haydon (Am. 1909-1994). Artwork Size: 12 x 9 1/2 inches. Artwork is unframed, matted ...

An illuminated page from a book likely in reference to palace life during Emperor Jahangir's reign over the Mughal Empire. Circa 1690. Gouache and ink with gold heightening on light...

Emperor Jahangir and Empress Nur Jahan exchanging lotus blossoms; a symbol of beauty, purity, honesty, rebirth, self-regeneration, and enlightenment....

Mid Century French Portrait Josine Vignon (French 1922-2022) Medium: Pencil/ charcoal /watercolour on artists paper, double sided Size: 9.5 height) x 6.25 (width) Stamped Verso Con...

A Fine, 1930s Modern Academic Figure Study of a Standing Young Male Nude Model by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). An exceptionally well executed early 1930s c...

Emperor Jahangir in his harem surrounded by lotus blossoms; symbols of paradise itself. Circa 1690. Gouache and ink with gold heightening on cream laid paper, 8 1/2 x 6 1/4 inches (...

Figurative, still life chalk drawing of flowers in a vase against collaged vintage book pages 'One Red One' by Louise Laplante in 2024 pastel on collaged vintage book pages 27.5 x 29...

Signer upper right, 'Craemer' for Kurt Craemer (German, 1912-1961) and dated 1954. Born in Saarbrucken, Craemer first attended the Academy of Cologne where he worked under Friedrich...

Title: Mid Century French Pencil Drawing Study of a Dog in Various Poses Artist: Josine Vignon (French 1922-2022) Medium: Pencil on paper Size: 9.75 (height) x 6.75 (width) Stamp...

Theodore Waddell Midnight Angus Drawing #3 (Midwest, Cattle, Mid-Century, Prairie, Blue) Oil on Paper Year: 1990 Sheet Size: 30 x 40 inches (76.2 x 101.6 cm) Mat Size: 33.5 x 43.5 in...

An illuminated page from a book likely in reference to palace life during Emperor Jahangir's reign over the Mughal Empire. circa 1750. Gouache and ink with heightening in gold on li...

"Paris with Apples" The original legend says Paris, prince of Troy had one golden apple, and had to choose between 3 goddesses. Modern Paris has more than one apple, and he is depi...

Title: French Gouache Painting of Pueblo Bread Baking in Taos New Mexico by Emile GALLOIS (1882-1965, French) Signed: Yes Medium: Original gouache painting on thick unframed paper, S...

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...

"Night Blues" Female Nude, seen from the back, and a second view in the mirror. from another perspective. Part of "Nude in Interior" series, inspired by Matisse. Ultramarine tempera ...

Christ on the Cross attributed to Jan Luyken (Dutch, 1649–1712) inscribed 1674 upper corner pencil drawing, watercolor and ink wash on paper over oard, framed framed: 12 x 11 inches ...

Emperor Jahangir depicted with his harem attendees aboard a pleasure cruise, the water filled with lotus blossoms; symbols of paradise itself. Circa 1750. Gouache and ink with gold ...

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...

The Birth French Rococo School, mid 18th century sepia ink on paper over board, framed behind glass. framed: 13 x 11 inches painting : 8 x 6 inches Provenance: private collection, B...

Ink and gouache with gold heightening on fibrous, brown laid paper with a Jaipur Court Fee tax stamp in gray ink, and the 1889 Jaipur State Council stamp in black ink, 13 1/4 x 8 3/4 inches (335 x 222 mm). Toning, handling creases and minor scattered surface soiling throughout. There are scattered coeval Hindi inscriptions in ink on the recto. "A ragamala, translated from Sanskrit as "garland of ragas," is a series of paintings depicting a range of musical melodies known as ragas. Its root word, raga, means color, mood, and delight, and the depiction of these moods was a favored subject in later Indian court paintings...

Ricard Opisso - Crowd in Barcelona - Watercolor drawing Drawing measurements 19x24 cm. Frame measurements 30x35 cm. Son of Alfredo Opisso y Viñas, journalist, historian and critic, and of Antonia Sala y Gil, his sister Regina Opisso, was also a writer. He comes from an enlightened family full of artists. His paternal grandfather was Josep Opisso y Roig, journalist and director of the Diari de Tarragona, father of the also writers Antonia Opisso y Viña and Antoni Opisso y Viña. His maternal great-grandfather was the painter Pere Pau Montaña, his maternal grandfather the fabulist Felipe Jacinto Sala and his maternal uncle, the painter Emilio Sala y Francés. His nephew was Arturo Llorens y Opisso, a writer better known under his pseudonym Arturo Llopis. Although he was born in Tarragona, his family moved to Barcelona when Opisso was only two years old. In modernist Barcelona at the end of the 19th century, Opisso worked as an assistant to Antonio Gaudí in the works of the Sagrada Familia in Barcelona since 1892. He was linked to the group Els Quatre Gats, along with Ramón Casas, Manuel Hugué, Isidre Nonell...

"Sensory Experience", pencil and ultramarine tempera on paper, inspired by Matisse. Part of Nude in Interior series. Large drawing. Shipped rolled in a tube, from Florida, US. See 1stDibs free shipping offer FREESHIP Artist Statement "I started by painting interiors, being interested in space and perspective through my studies. These scenes evolved, when I added the human figure. I focused more on the human figure and its relation to the background. The human figure is more present than ever in my paintings now. As a woman artist I’ve been preoccupied with the female form and its imagery. One of my goals was to capture the solitary moments and the nude’s relation to the surrounding space. My interest turned from depicting the space to rendering the atmosphere and the scene as a whole, the feeling a woman adds to the environment: warmth, desire, joy, a feeling of power and control, or the opposite – sadness, despair. Here is a collection of figurative paintings, exploring the nudes in interior spaces, seeing the nudes from my perspective, as a woman artist, considering the physical and spiritual realities of a woman’s body, in a new level of intimacy. My paintings are the opposite of objectifying a woman’s or a man’s anatomy. Painted works, featuring female nudes and a also men nudes...

Watercolor and pencil on buff wove watercolor paper, 10 x 8 inches (255 x 203 mm). In good condition with overall minor toning. Some watercolor paint splatters on the verso, contem...

This luminous gouache captures a majestic mountain vista, likely set in California’s Sierra Nevada (possibly Yosemite). Two broad granite peaks with sunlit faces dominate the backgro...

"Watercolour Beach Scene" by Maurice Mazeilie (French) Watercolour painting on paper, unframed Stamped verso Painting: 4.25 x 5.5 inches A delightful original oil painting by the 2...

Academic life drawing of male nude with charcoal and graphite by Mark Beard, "MB 085A" graphite, Conte crayon and charcoal on Arches paper 30 x 18.5 inches unframed Signed, lower rig...

Academic life drawing of male nude with charcoal and graphite by Mark Beard, "MB 023" graphite, Conte crayon and charcoal on Arches paper 30.5 x 17.5 inches unframed Signed, lower le...

This piece, titled "Wanderer 10" is an original artwork by Seth Clark as part of his newest solo exhibition, "Passing Through" is made of collage, charcoal, pastel, acrylic, and gra...

"Apollo" Original art, one-of-a-kind, signed. 100x70cm / 30x27in, ink, graphite, tempera on paper, large size, shipped rolled in a tube. This particular artwork is ready for hanging,...

Cartoon sketch, ca. 1955. Pencil on paper, sheet measures 8.5 x 11 inches. Unsigned with editor's notations. From a group of sketches meant to be preliminary drafts for editor appro...

A Fine 1930s, Modern Academic Figure Study Drawing of a Standing Male Nude Model by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). An exceptionally well executed, early 1930...

Born in Rome, Italy, Emanuel Romano became a painter, illustrator, muralist and teacher in New York City where from 1944 to 1945 he taught at the City College of New York. One of his...