Continental US - Portrait Drawings and Watercolors

Synthetic polymer on paper. This work is unique. Work comes with a Certificate of Provenance. Stamped on the verso by the Estate of the Artist and The Andy Warhol Foundation for the ...

America Martin "Woman With Knees Up" Pastel & Ink on Paper 24” x 18” AMERICA MARTIN is an internationally represented Colombian-American fine artist based in Los Angeles. America i...

Demon Mask with Skull Helmet in Neo-Japanese Style Boldly colored depiction of a demon mask by an unknown artist. A bright yellow mask stares out at the viewer, with a broad grin. A...

'Blonde Young Man in Black Shirt' - Head Study No. 54 , drawing featuring of a young man - a musician. The work is created with mixed media on paper, including Stabilo pencil, gouach...

Motherhood Ahead is created with china crayon, ink wash on Yupo paper and comes matted and backed in a museum quality presentation mat. The pensive young woman's head is monochrome b...

Wartime / Head Study No. 76 , drawing / painting featuring the head portrait of a young woman. in yellow. The work is created with mixed media on Canson paper, including stabilo penc...

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...

Image size is 11.60" by 9" Boris Deutsch (Lithuanian-American Modernist) was born in Krasnogorsk Lithuania june 4 1892 died in Los Angeles 1978. Entered the polytechnic school in rig...

The Rainbow Pipe - Fauvist Portrait and Interior in Pastel on Paper Brightly colored abstract portrait by Michael William Eggleston (American, 20th Century). A blue-faced figure on ...

Big Baloo / Head Study No. 86 , drawing / painting featuring the head portrait of a young woman. in blue, pink, gold and white. The work is created with mixed media on Bristol paper,...

Elegant portrait of an art student at work by Joseph Yeager (American, 20th Century). This piece is unsigned, but was acquired with a collection of Yeager work directly from the estate. This piece is on heavy bond paper with ragged edges. No frame. Joseph "Joe" Yeager (American, 20th Century) was raised in Cleveland Ohio, where he went to art school at night and started his art career at 19. He was a commercial artist for the Cleveland Press...

'Talia in Fruitvale' , head study of a young woman in a hat in mainly yellow and red, is created with mixed media on paper, including stabilo pencil, gouache, ink, dry point pigment,...

eon Kroll Original Graphite Portrait of a Young Man c.1940 Outstanding portrait by listed American artist Leon Kroll Graphite on paper Dimensions 12" wide x 18" high The vintage ...

Jankel Adler (Polish, 1895–1949) 'Seated Nude' Watercolor in sepia tones on paper, Hand signed Dimensions: Framed 26 x 20 inches, sheet 17.88 x 14.75 inches Provenance: Bears a la...

This meticulously rendered work depicts a three-quarter view of a young woman lost in deep introspection. Inscribed on verso: " The Captain's Lady" Leslie of ____________ St. ...

Title : Hey Cowboy Materials : Stamp,xerox transfer,ink Date : 2015 Dimensions : 16.5×23.5 COA provided Art school took Olivia Gibb away from Oklahoma and up to Kansas City, which s...

Artist/Designer: Karl Lagerfeld (German, 1933-2019) Additional Information: Fashion design sketch by Karl Lagerfeld from the Tiziani Archives. ...

Expressionist Portrait of a Man in a Suit in Pastel on Paper Moody portrait of a man with dark hair by an unknown artist (20th Century). The man is shown with an elongated face and ...

Many of you clicking on this drawing are probably doing so because you know of Ellsworth Woodward, who with his brother William Woodward around the turn of the 20th century sparked an arts renaissance in the South, the arts and culture in general having been mostly moribund since the dispiriting defeat experienced in the Civil War. I won't bog you down with lots of detail here since all you have to do is Google his name to bring up a wealth of information about him. He is most famous for his leadership of the arts program at Newcomb College in New Orleans, and its famous Newcomb Pottery...

Artist: Alton Tobey Tite: Beethoven Year: 1974 Medium: Pastel on Paper, signed l.r. Size: 35.5 x 41 in. (90.17 x 104.14 cm) Frame Size: 40 x 36 in. (101.6 x 91.44 cm)

An early example from pioneering Female Cartoonist/ Illustrator Edwina Dumm, who draws a comic strip from her long-running cartoon series Tippie which lasted for almost five decades. Signed and dated Edwina, 9-25, matted but unframed. Frances Edwina Dumm (1893 – April 28, 1990) was a writer-artist who drew the comic strip Cap Stubbs and Tippie for nearly five decades; she is also notable as America's first full-time female editorial cartoonist. She used her middle name for the signature on her comic strip, signed simply Edwina. Biography One of the earliest female syndicated cartoonists, Dumm was born in Upper Sandusky, Ohio, and lived in Marion and Washington Courthouse, Ohio throughout her youth before the family settled down in Columbus.[1] Her mother was Anna Gilmore Dennis, and her father, Frank Edwin Dumm, was an actor-playwright turned newspaperman. Dumm's paternal grandfather, Robert D. Dumm, owned a newspaper in Upper Sandusky which Frank Dumm later inherited. Her brother, Robert Dennis Dumm, was a reporter for the Columbus Dispatch, and art editor for Cole Publishing Company's Farm & Fireside magazine. In 1911, she graduated from Central High School in Columbus, Ohio, and then took the Cleveland-based Landon School of Illustration and Cartooning correspondence course. Her name was later featured in Landon's advertisements. While enrolled in the correspondence course, she also took a business course and worked as a stenographer at the Columbus Board of Education. In 1915, Dumm was hired by the short-lived Republican newspaper, the Columbus Monitor, to be a full-time cartoonist.[2] Her first cartoon was published on August 7, 1915, in the debut issue of the paper. During her years at the Monitor she provided a variety of features including a comic strip called The Meanderings of Minnie about a young tomboy girl and her dog, Lillie Jane, and a full-page editorial cartoon feature, Spot-Light Sketches[3]. She drew editorial cartoons for the Monitor from its first edition (August 7, 1915) until the paper folded (July 1917). In the Monitor, her Spot-Light Sketches was a full-page feature of editorial cartoons, and some of these promoted women's issues. Elisabeth Israels Perry, in the introduction to Alice Sheppard's Cartooning for Suffrage (1994), wrote that artists such as Blanche Ames Ames, Lou Rogers and Edwina Dumm produced: ...a visual rhetoric that helped create a climate more favorable to change in America's gender relations... By the close of the suffrage campaign, women's art reflected the new values of feminism, broadened its targets, and attempted to restate the significance of the movement.[4] After the Monitor folded, Dumm moved to New York City, where she continued her art studies at the Art Students League. She was hired by the George Matthew Adams Service[5] to create Cap Stubbs and Tippie, a family strip following the lives of a boy Cap, his dog Tippie, their family, and neighbors. Cap's grandmother, Sara Bailey, is prominently featured, and may have been based on Dumm's own grandmother, Sarah Jane Henderson, who lived with their family. The strip was strongly influenced by Mark Twain’s Adventures of Huckleberry Finn, as well as Dumm’s favorite comic, Buster Brown by Richard F. Outcault. Dumm worked very fast; according to comics historian Martin Sheridan, she could pencil a daily strip in an hour.[6] Her love of dogs is evident in her strips as well as her illustrations for books and magazines, such as Sinbad, her weekly dog page which ran in both Life and the London Tatler. She illustrated Alexander Woollcott's Two Gentlemen and a Lady. For Sonnets from the Pekinese and Other Doggerel (Macmillan, 1936) by Burges Johnson (1877–1963), she illustrated "Losted" and other poems. From the 1931 through the 1960s, she drew another dog for the newspaper feature Alec the Great, in which she illustrated verses written by her brother, Robert Dennis Dumm. Their collaboration was published as a book in 1946. In the late 1940s, she drew the covers for sheet music by her friend and neighbor, Helen Thomas, who did both music and lyrics. During the 1940s, she also contributed Tippie features to various comic books including All-American Comics and Dell Comics. In 1950, Dumm, Hilda Terry, and Barbara Shermund...

Sketchbook Page with Figures and Anatomical Details in Pencil on Paper Drawings of a man at a desk and other figurative sections by an unknown artist (19th Century). On the left sid...

Louise H. "Louie" Burrell (née Luker 1873 – 1971) was an English-born artist who also lived in Canada and the United States. The daughter of William and Ada Luker, both artists, Bur...

"Performance I & II" are thoughtful and dynamic charcoal drawings on paper by Patsy McArthur. They are monotone, black and white, and show a woman wearing a fashionable striped skirt...

"Mission Impossible" Original TV Guide Drawing Illustration Caricature Mid Century NYC with Greg Morris, Barbara Bain, and Steve Hill. This original drawing...

1942 Calendar illustration featuring the First Lady of Haiti (Madame Elie Lescot]) rendered in a precise stipple effect and celebrating African-American women which was titled "Twelve American Women." It was executed during the hight of World War II. Lois Mailou Jones...

This little gem of a compact artwork was executed in the Arts and Crafts style for an interior illustration for "The Wise Book," J.M. Dent & Co, London, 1906. "You can't eat your ca...

Graphite and conté crayon on paper Signed and dated, l.r. This artwork is offered by ClampArt, located in New York City. Mark Beard, born in 1956 in Salt Lake City, now lives in Ne...

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...

Wonderful Early Victorian English watercolor of a little girl. The piece is full of quality and precise brushwork giving the painting a great feeling. I think the frame is later poss...

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

Antoniucci Volti (French, 1915-1989) Untitled, 1969 Red chalk on paper 11 x 14 3/4 in. Signed: Volti Sculptor, painter, and printmaker Antoniucci Volti was born in Albano, Italy, in 1915. His family lived in there until 1920 when the family moved to France to stay. Volti studied at the Ecole des Arts Decoratifs in Nice from 1928 to 1920. By 1932 the young artist had won a gold medal for two polychrome bas-reliefs before going to Paris, where he entered the studio of Jean Boucher at the Ecole Nationale des Beaux-Arts in Paris at the age of only fifteen. After serving in the Second World War, when he was interned as a prisoner of war in Bavaria, he returned in poor health to Paris, only to find his studio destroyed. From 1947 he showed work at various Paris Salons and, in 1954 and 1955 at the Brussels and Antwerp Biennales. In 1957 a retrospective of his work was organized at the Museum Rodin in Paris. He died in Paris in 1989 Works by Volti are in leading museums such as the Musee National d'Art Moderne, Paris. Antoniucci Volti is one of the most important Late Modern sculptors...

Acrylic and watercolor on paper Signed in black ink, l.c. This artwork is offered by ClampArt, located in New York City. Price includes framing. Jack Balas...

While charcoal is naturally a loose drawing medium, David Becker uses it with precision. With a rich range of value and strong darks, Becker captures the fine details with exacting clarity. In his drawing "Pritzlaff - 1903", the subject, a male with a glazed look, is wielding an ax and pointing a finger at the viewer. This drawing is framed in a simple black frame. The artist has signed with his initials and year on the front and signed his full name on the back of the piece. David Becker Pritzlaff - 1903 vine charcoal on paper 32h x 24w in 81.28h x 60.96w cm DB0027 David Becker Exhibitions 2017 Figure8, Gallery Victor Armendariz, Chicago, IL Coming Attractions, Gallery Victor Armendariz, Cicago, IL 2012 Eye Teeth Group Show, Paint Creek Center for the Arts, Rochester, MI 2011 Art Chicago 2011, Merchandise Mart, Chicago, IL 2010 Art Chicago 2010, Merchandise Mart, Chicago, IL 2009 David Becker Retrospective, Ann Nathan Gallery, Chicago, IL Art Chicago 2009, Merchandise Mart, Chicago, IL The 184th Annual Exhibition of Contemporary American Art, National Academy Museum, NYC Selections, Ann Nathan Gallery, Chicago, IL 2008 Art Chicago 2008, Represented by Ann Nathan Gallery, Merchandise Mart, Chicago, IL 2007 Unruly Muse, Ann Nathan Gallery, Chicago, IL SOFA NY (Sculptural Objects Functional Art), Ann Nathan Gallery, 7th Regiment Armory, NY, NY Art Chicago, Merchandise Mart, Ann Nathan Gallery, Chicago, IL 2006 Palm Beach³, Ann Nathan Gallery, Palm Beach, FL 2005 SOFA NY (Sculptural Objects Functional Art), Ann Nathan Gallery, 7th Regiment Armory, NY, NY Art Chicago in the Park, Butler Field, Ann Nathan Gallery, Chicago, IL Ann Nathan Gallery, Chicago, IL Palm Beach³, Ann Nathan Gallery, Palm Beach, FL 2004 Contemporary Prints: National Academy Museum Collection, National Academy of Design, NYC Art Chicago 2004, Ann Nathan Gallery, Chicago, IL Fantastic & Visionary Art, touring exhibit: Orange, Manning, Riddoch, & Ballart Gallery, Australia Return of the Men, Peltz Gallery, Milwaukee, WI 2003 Art Chicago 2003, Ann Nathan Gallery, Chicago, IL Fantastic & Visionary Art, touring exhibit: Orange Regional Gallery, New South Wales, Australia National Academy of Design 178th Annual Exhibition, NY, NY 2002 Art Chicago 2002, Ann Nathan Gallery, Chicago, IL Art of the 20th Century, Ann Nathan Gallery, Park Ave. Armory, NY, NY Outsider Art Fair, The Puck Building @ Houston & Lafayette Sts., NYC Self and Other Portraits, Wisconsin Artists, Charles Allis Art Museum, Milwaukee, WI Return of the Men, Peltz Gallery, Milwaukee, WI 2001  Beyond the 50's, May 4 - July 1, Exhibit A, A Gallery of Art & Design, Birmingham, Michigan Outsider Art Fair, January 26-28, The Puck Building @ Houston & Lafayette Sts., NYC "FANTASTIC ART", April/May, Orange Regional Gallery, Orange NSW, Australia. David Becker: Etchings and Engravings, Ann Nathan Gallery, Chicago, solo exhibition of prints, February. 2000  Four person exhibition, Columbus State University, Columbus, Georgia, Oct. 31 - Nov. 27, 2000. 1999 National Academy 174th Annual Exhibition, NY University of Wisconsin-Madison Faculty, Elvehjem Museum of Art, Madison, WI Treasures Revealed: 19th and 20th Century American Works on Paper, National Academy, NY 1995 Bharat Bhavan International Biennial of Prints, Bhopal, India Contemporary Prints, Selections from John Szoke Gallery, NYC, Drew University, Madison, NJ Collection Update, 1994, National Academy of Design Museum, NY 1994 David Becker and Robert Sholties, Peconic Gallery, Suffolk Community College, Riverhead, NY In Black and White: Works by Four Printmakers, Atrium Gallery, University of Connecticut, Storrs Aesthetics of Athletics: Sports, Games, and Exercise, Charles A. Wustum Musem, Racine, WI GMI IX Award Winners, Art Center Gallery, Central Missouri State University, Warrensburg 1993 Take Home a Nude benefit auction, NY Academy of Art Graduate School Of Figurative Art, NY 1993 American Prints: Last Half 20th Century, Jane Haslem Gallery, Washingtion, DC Outstanding American Prints, Anderson Arts Center, Kenosha,WI National Academy of Design 168th Annual Exhibition, NY David Becker: Etchings, Davidson Galleries, Seattle, WA Portraits, Davidson Galleries, Seattle, WA 1992 The Print Fair, 7th Regiment Armory, NY 1991 166th Annual Exhibition, National Academy of Design, NY Alma College Collection, Detroit Institute of Arts, Detroit, Michigan Modes of Expression, Potsdam College, SUNY, Potsdam, NY 1990 With Nothing On, Prints and Drawings of the Nude, New Orleans Museum of Art, LA Prints by Printmakers, Staller Art Center, SUNY-Stonybrook, NY Publications/Reviews 2007 November 60 Years of North American Prints: 1947-2007, Boston U. Art Gallery, Boston, MA 2003 July 11 Isthmus, Madison, “Welcome to My Nightmare,” by Robert Cozzolino. 2001 March 14 The Wall Street Journal, "Time Off: A Week of Diversions." Review of Progressive Printmakers (LVM) exhibition. 2001 February Isthmus, Madison, "America's Printland," by Jennifer Smith. 2001 February Capital Times, "The Crowned Prints," by Kevin Lynch. 1999 July Progressive Printmakers: Wisconsin Artists & the Print Renaissance. 1995 – 1999 Who’s Who in America. 1993 Summer The Journal of the Print World, review. March 14 The New York Times, review. March 12 The Daily Oklahoman, review. 1990 Dec. 13 The Capital Times, review. April 28 The Washingtion Post, review. March 25 The New York Times, review. Summer The Journal of the Print World, review. Selected Collections - additional collections available on requestArkansas Arts Center Foundation, Little Rock, AR Art Institute of Chicago, Chicago, IL Brooklyn Museum, NYC Butler Institute of American Art, Youngstown, OH Detroit Institute of Art, Detroit, MI Elvehjem Museum of Art, U of Wisconson-Madison Honolulu Academy of Arts, Honolulu, HI Library of Congress, Washington, DC Metropolitan Museum, Miami, FL Museo de Arte Moderno, Cali, Columbia National Academy, NY, NY National Museum of American Art, Washington, DC New York Public Library, NY Portland Art Museum, Portland, Oregon Rose Art Museum, Brandeis University, MA United States Information Agency, Prague, Czech. Alberta College of Art, Alberta, Canada Albion College, Albion, MI Alma College, Alma, MI Art Center, South Bend, IN AT&T Corporate HQ, Plainfield, NJ Boston Printmakers, Boston, MA Bradley University, Peoria, IL Columbia Green Community College, Hudson, NY Columbus State University, Columbus, GA Davidson College, Davidson, NC Dickinson College, Carlisle, PA Georgia State University – Atlanta Hope College, Holland, MI Hunterdon Art Center, Clinton, NJ Kansas State University, Manhattan, KS Madison Art Center, Madison, WI Marui Imai Inc., Sapporo, Japan Milwaukee Art Center, Milwaukee, WI Minot Art Association, Minot, ND North Carolina Print/Drawing Society, Charlotte, NC North Texas State University – Denton Ohio University – Athens Oklahoma Art Center, Oklahoma City, OK Oklahoma State University, OK Quad Graphics, Milwaukee, WI Silvermine Guild of Arts, New Canaan, CT Springfield College, Springfield, MA St. Lawrence University, Canton, NY State University of New York – Fredonia State University of New York – Potsdam Trenton State College, Trenton, NJ University of Arizona Museum of Art, Tucson, AZ University of Colorado-Boulder University of Dallas, TX University of Louisville, Louisville, KN University of Manitoba, Winnipeg, Canada University of North Dakota – Grand Forks University of South Dakota – Vermillion University of Tennesse – Knoxville West Chester State College, West Chester, PA Western Kentucky University – Bowling Green Private Collections Carla Leighton, New York, NY Marc Hauser, Chicago, IL Michael John Hofer, Chicago, IL Drs. Mark & Helene Connolly, River Forest, IL Jamie Kalikow, New York, NY Dianne & Jim Blanco, Chicago, IL Denise Roberge, Palm Desert, CA Tish & Philip Messinger, Creskill, NJ Brian Wesphal & Michael McVicker, Chicago, IL Ralph Privoznik, Lafayette, IN Candice Groot, Evanston, IL Shomaker/Ruud Collection, Chicago, IL Braden Berkey and Robert Bartlett, Chicago, IL Bill and Karyn Silverstein, Highland Park, IL Steve Weitz, Lovettsville, VA Mary Allice Wimmer, Madison, WI Ann & Robert Avery...

"Estrada-Duran combines realism and surrealism in his work, the artists paintings are often monochromatic pencil drawings with overlays of gold paint that depict goddess-like women ...

This large scale charcoal on paper is from the artist's series "These fragile truths". This body of work explores the limitations and aesthetics of human memory through portraiture...

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...

Painted by Norha Beltran (Bolivian-American, 20th century). Accompanied by old label from Hourian Gallery, San Francisco and with comprehensive artist bi...

Ink and gouache with gold heightening on fibrous, brown laid paper, with a Jaipur Court Fee tax stamp in purple ink on the recto, 12 1/2 x 9 inches (318 x 230 mm). Toning, handling c...

"Marc Chagall" Original Drawing Illustration Caricature William Saroyan book This drawing was published in the 1976 edition of William Saroyan's SONS ...

Artist: Raul Anguiano, Mexican (1919 - 2006) Title: Portrait of a Woman Year: 1964 Medium: Pastel on Paper, signed and dated l.r. Size: 31 x 22 inches Frame Size: 39 x 30 inches

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...

Signed, titled, and dated, verso India ink and watercolor on paper This work is offered by ClampArt in New York City.

An original watercolor painting by Westley "Wes" Olmsted. This work is currently featured in the exhibition Man of Extremes at Benjaman Gallery in Buffalo, NY. Westley G. Olmsted (1934-2011) was a painter and sculptor. He was born in Buffalo, New York, and was a distant relative Frederick Law Olmsted...

Vincente Romero Thoughtfulness Original pastel on Ingres paper Hand signed by the artist Image: 25.6 x 19.7 inches Framed dimensions: 32 x 26 inches *T...

Rare and huge work by Susumu Kamijo! Untitled oil pastel and pastel pencil on paper 72 x 94” 2019 signed framed EDUCATION 2000 BFA in Painting and Drawing, University of Oregon 2002 MFA in Painting and Drawing, University of Washington SOLO SHOWS 2024 When You Come Home, Maki Gallery, Tokyo, Japan 2023 The Motherland, Venus over Manhattan, New York, USA The Sun Inside, Perrotin, Paris, France 2022 Jack and Venus, Jack Hanley Gallery, New York, USA Jack and Venus, Venus Over Manhattan, New York, USA Alone with Everybody, Perrotin, Seoul, South Korea I will tell you later, Stems Gallery, Brussels, Belgium 2021 How was your summer? , Harper’s Gallery, East Hampton, USA Beyond The Hills, Maki Gallery, Tokyo, Japan 2020 Lick Me Till Dawn, Jack Hanley Gallery, New York, USA Lick Me Till Dawn, Marvin Gardens, New York, USA 2019 I Will Follow You To The Sunset, GNYP Gallery, Berlin, Germany When You Came At Dawn, Stems Gallery, Brussels, Belgium 2018 Walk With Me To The Sea, Sakurado Fine Arts, Tokyo, Japan I Will Walk You Tomorrow, Harpers Books, New York, USA Poodles, Tortoise, Los Angeles, USA 2017 Poodles, Sotheby’s S2, New York, USA 2016 I Think So, Marvin Gardens, Queens, USA GROUP SHOWS 2022 Koichi Sato...

Art Deco Girl with Car Mid-20th Century American Modernism Pin-Up Illustration Arthur Rosenman Ross (1913 - 1981) Deco Girl with Car, 1936 30 x 20 inches Oil on Canvas Board Signed Arthur ‘36 lower right Provenance: Estate of the artist. BIO Arthur Rosenman Ross was a key figure in automotive design at General Motors during America's "Golden Age" of auto design, the 1930's through the 1950s. He attended the Art Institute of Chicago from age 17, exhibiting a special interest for automotive renderings and the female figure. In 1934, he changed his name from Rosenman to Ross, fearing his Jewish ancestry could prejudice his career prospects. At age 20, he turned down job offers from MGM Studios in Hollywood and Duesenberg to work at General Motors alongside the Legendary Harley Earl in 1935. He was hand picked by Mr. Earl and assigned to GM's War and Camouflage Division in 1937 through WW2. It was during this pivotal period in which he executed some extraordinary military aircraft artworks, likely used between GM and America's military aeronautics companies in design preparation for WW2. General Motors played an important role in helping America's aircraft manufacturers preceding and during the war. Just after the war in 1945, Mr. Ross was rewarded by GM, being made Chief Designer of Cadillac, then two years later becoming Chief at Oldsmobile until his retirement in 1959. He was in large part responsible for some of GM's classic Cadillac designs such as the Cadillac Sixty Special, Fleetwood, LaSalle and GM's first concept car, the extraordinary Buick Y-Job. Mr. Ross was an exceptionally charismatic and vivacious man who quite by chance, befriended His idol, Salvador Dali at GM in 1955. They talked about art, cars and girls late into the evening, according to his son, Carter Ross. He had a gift in rendering the erotic arts...

The artist has covered New York collections for over 16 years and has interviewed, as a journalist, several fashion designers and personalities for different publications. He loves t...

Antoniucci Volti (French, 1915-1989) Untitled, 1969 Ink on paper 11 x 14 3/4 in. (each panel) Signed: Volti Sculptor, painter, and printmaker Antoniucci Volti was born in Albano, Italy, in 1915. His family lived in there until 1920 when the family moved to France to stay. Volti studied at the Ecole des Arts Decoratifs in Nice from 1928 to 1920. By 1932 the young artist had won a gold medal for two polychrome bas-reliefs before going to Paris, where he entered the studio of Jean Boucher at the Ecole Nationale des Beaux-Arts in Paris at the age of only fifteen. After serving in the Second World War, when he was interned as a prisoner of war in Bavaria, he returned in poor health to Paris, only to find his studio destroyed. From 1947 he showed work at various Paris Salons and, in 1954 and 1955 at the Brussels and Antwerp Biennales. In 1957 a retrospective of his work was organized at the Museum Rodin in Paris. He died in Paris in 1989 Works by Volti are in leading museums such as the Musee National d'Art Moderne, Paris. Antoniucci Volti is one of the most important Late Modern sculptors...

Chaim Gross (American, 1904-1991) Watercolor with pencil painting Rabbi Klezmer music concert, flute player. Hand signed framed: 15 X 28.5, paper: 9.5 X 23 Chaim Gross (March 17, 1904 – May 5, 1991) was an American modernist sculptor and educator. Gross was born to a Jewish family in Austrian Galicia, in the village of Wolowa (now known as Mezhgorye, Ukraine), in the Carpathian Mountains. In 1911, his family moved to Kolomyia (which was annexed into the Ukrainian USSR in 1939 and became part of newly independent Ukraine in 1991). When World War I ended, Gross and brother Avrom-Leib went to Budapest to join their older siblings Sarah and Pinkas. Gross applied to and was accepted by the art academy in Budapest and studied under the painter Béla Uitz, though within a year a new regime under Miklos Horthy took over and attempted to expel all Jews and foreigners from the country. After being deported from Hungary, Gross began art studies at the Kunstgewerbeschule in Vienna, Austria shortly before immigrating to the United States in 1921. Gross's studies continued in the United States at the Beaux-Arts Institute of Design, where he studied with Elie Nadelman and others, and at the Art Students League of New York, with Robert Laurent. He also attended the Educational Alliance Art School, studying under Abbo Ostrowsky, at the same time as Moses Soyer and Peter Blume. In 1926 Gross began teaching at The Educational Alliance, and continued teaching there for the next 50 years. Louise Nevelson was among his students at the Alliance (in 1934), during the time she was transitioning from painting to sculpture. In the late 1920s and early 1930s he exhibited at the Salons of America exhibitions at the Anderson Galleries and, beginning in 1928, at the Whitney Studio Club. In 1929, Gross experimented with printmaking, and created an important group of 15 linocuts and lithographs of landscapes, New York City streets and parks, women in interiors, the circus, and vaudeville. The entire suite is now in the collection of the Philadelphia Museum of Art. Gross returned to the medium of printmaking in the 1960s, and produced approximately 200 works in the medium over the next two decades. For more than sixty years Chaim Gross's art has expressed optimistic, affirming themes, Judaica, balancing acrobats, cyclists, trapeze artists and mothers and children convey joyfulness, modernism, exuberance, love, and intimacy. This aspect of his work remained consistent with his Jewish Hasidic heritage, which teaches that only in his childlike happiness is man nearest to God. In March 1932 Gross had his first solo exhibition at Gallery 144 in New York City. For a short time they represented Gross, as well as his friends Milton Avery, Moses Soyer, Ahron Ben-Shmuel and others. Gross was primarily a practitioner of the direct carving method, with the majority of his work being carved from wood. Other direct carvers in early 20th-century American art include William Zorach, Jose de Creeft, and Robert Laurent. Works by Chaim Gross can be found in major museums and private collections throughout the United States, with substantial holdings (27 sculptures) at the Hirshhorn Museum and Sculpture Garden. A key work from this era, now at the Smithsonian American Art Museum, is the 1932 birds-eye maple Acrobatic Performers, which is also only one and one quarter inch thick. In 1933 Gross joined the government's PWAP (Public Works of Art Project), which transitioned into the WPA (Works Progress Administration), which Gross worked for later in the 1930s. Under these programs Gross taught and demonstrated art, made sculptures that were placed in schools and public colleges, made work for Federal buildings including the Federal Trade Commission Building, and for the France Overseas and Finnish Buildings at the 1939 New York World's Fair. Gross was also recognized during these years with a silver medal at the Exposition universelle de 1937 in Paris, and in 1942, with a purchase prize at the Metropolitan Museum of Art's "Artists for Victory" exhibition for his wood sculpture of famed circus performer Lillian Leitzel. In 1949 Gross sketched Chaim Weizmann, Israeli President, at several functions in New York City where Weizmann was speaking, Gross completed the bust in bronze later that year. Gross returned to Israel for three months in 1951 (the second of many trips there in the postwar years) to paint a series of 40 watercolors of life in various cities. This series was exhibited at the Jewish Museum (Manhattan) in 1953. He also did some important Hebrew medals. In the 1950s Gross began to make more bronze sculptures alongside his wood and stone pieces, and in 1957 and 1959 he traveled to Rome to work with famed bronze foundries including the Nicci foundry. At the end of the decade Gross was working primarily in bronze which allowed him to create open forms, large-scale works and of course, multiple casts. Gross's large-scale bronze The Family, donated to New York City in 1991 in honor of Mayor Ed Koch, and installed at the Bleecker Street Park at 11th street, is now a fixture of Greenwich Village. In 1959, a survey of Gross's sculpture in wood, stone, and bronze was featured in the exhibit Four American Expressionists curated by Lloyd Goodrich at the Whitney Museum of American Art, with work by Abraham Rattner, Doris Caesar, and Karl Knaths. In 1976, a selection from Gross's important collection of historic African sculpture, formed since the late 1930s, was exhibited at the Worcester Art Museum in the show The Sculptor's Eye: The African Art Collection of Mr. and Mrs. Chaim Gross. Gross was elected into the National Academy of Design as an Associate member, and became a full Academician in 1981. In 1984, he was inducted into the American Academy of Arts and Letters, with Jacob Lawrence and Lukas Foss. In the fall of 1991, Allen Ginsberg gave an important tribute to Gross at the American Academy of Arts and Letters, which is published in their Proceedings. In 1994, Forum Gallery, which now represents the Chaim Gross estate, held a memorial exhibition featuring a sixty-year survey of Gross's work.In March 1932 Gross had his first solo exhibition at Gallery 144 in New York City. For a short time they represented Gross, as well as his friends Milton Avery, Moses Soyer, Ahron Ben-Shmuel and others. Gross was primarily a practitioner of the direct carving method, with the majority of his work being carved from wood. Other direct carvers in early 20th-century American art include William Zorach, Jose de Creeft, and Robert Laurent. Works by Chaim Gross can be found in major museums and private collections throughout the United States, with substantial holdings (27 sculptures) at the Hirshhorn Museum and Sculpture Garden. A key work from this era, now at the Smithsonian American Art Museum, is the 1932 birds-eye maple Acrobatic Performers, which is also only one and one quarter inch thick. In 1933 Gross joined the government's PWAP (Public Works of Art Project), which transitioned into the WPA (Works Progress Administration), which Gross worked for later in the 1930s. Under these programs Gross taught and demonstrated art, made sculptures that were placed in schools and public colleges, made work for Federal buildings including the Federal Trade Commission Building, and for the France Overseas and Finnish Buildings at the 1939 New York World's Fair. Gross was also recognized during these years with a silver medal at the Exposition universelle de 1937 in Paris, and in 1942, with a purchase prize at the Metropolitan Museum of Art's "Artists for Victory" exhibition for his wood sculpture of famed circus performer Lillian Leitzel. In 1949 Gross sketched Chaim Weizmann, President of Israel, at several functions in New York City where Weizmann was speaking, Gross completed the bust in bronze later that year. Gross returned to Israel for three months in 1951 (the second of many trips there in the postwar years) to paint a series of 40 watercolors of life in various cities. This series was exhibited at the Jewish Museum (Manhattan) in 1953. In the 1950s Gross began to make more bronze sculptures alongside his wood and stone pieces, and in 1957 and 1959 he traveled to Rome to work with famed bronze foundries including the Nicci foundry. At the end of the decade Gross was working primarily in bronze which allowed him to create open forms, large-scale works and of course, multiple casts. Gross's large-scale bronze The Family, donated to New York City in 1991 in honor of Mayor Ed Koch, and installed at the Bleecker Street Park at 11th street, is now a fixture of Greenwich Village. In 1959, a survey of Gross's sculpture in wood, stone, and bronze was featured in the exhibit Four American Expressionists curated by Lloyd Goodrich at the Whitney Museum of American Art, with work by Abraham Rattner, Doris Caesar, and Karl Knaths. In 1976, a selection from Gross's important collection of historic African sculpture, formed since the late 1930s, was exhibited at the Worcester Art Museum in the show The Sculptor's Eye: The African Art Collection of Mr. and Mrs. Chaim Gross. Gross was elected into the National Academy of Design as an Associate member, and became a full Academician in 1981. In 1984, he was inducted into the American Academy of Arts and Letters, with Jacob Lawrence and Lukas Foss. In the fall of 1991, Allen Ginsberg gave an important tribute to Gross at the American Academy of Arts and Letters, which is published in their Proceedings. In 1994, Forum Gallery, which now represents the Chaim Gross estate, held a memorial exhibition featuring a sixty-year survey of Gross's work. Gross was a professor of printmaking and sculpture at both the Educational Alliance and the New School for Social Research in New York City, as well as at the Brooklyn Museum Art School, the MoMA art school, the Art Student's League and the New Art School (which Gross ran briefly with Alexander Dobkin...

A substantial, late 19th century, French School portrait of an elegantly dressed young woman of the court, shown holding her English spaniel in her arms and gazing towards the viewer...

The Black Panther Trials - In this historically significant work, African American Artist Vicent D. Smith functions as an Art Journalist/ Court Reporter as much as a Artist. Here, he depicts, in complete unity, 21 Black Panther Protestors raising their fist of defiance at the White Judge. Smith's composition is about utter simplicity, where the Black Panther Protestors are symmetrically lined up in a confrontation with a Judge whose size is exaggerated in scale. Set against a stylized American Flag, the supercilious Judge gazes down as the protesters as their fists thrust up. Signed Vincent lower right. Titled Panter 21. Original metal frame. Tape on upper left edge of frame. 255 . Panther 21. Framed under plexi. _____________________________ From Wikipedia In 1969-1971 there was a series of criminal prosecutions in New Haven, Connecticut, against various members and associates of the Black Panther Party.[1] The charges ranged from criminal conspiracy to first-degree murder. All charges stemmed from the murder of 19-year-old Alex Rackley in the early hours of May 21, 1969. The trials became a rallying-point for the American Left, and marked a decline in public support, even among the black community, for the Black Panther Party On May 17, 1969, members of the Black Panther Party kidnapped fellow Panther Alex Rackley, who had fallen under suspicion of informing for the FBI. He was held captive at the New Haven Panther headquarters on Orchard Street, where he was tortured and interrogated until he confessed. His interrogation was tape recorded by the Panthers.[2] During that time, national party chairman Bobby Seale visited New Haven and spoke on the campus of Yale University for the Yale Black Ensemble Theater Company.[3] The prosecution alleged, but Seale denied, that after his speech, Seale briefly stopped by the headquarters where Rackley was being held captive and ordered that Rackley be executed. Early in the morning of May 21, three Panthers – Warren Kimbro, Lonnie McLucas, and George Sams, one of the Panthers who had come East from California to investigate the police infiltration of the New York Panther chapter, drove Rackley to the nearby town of Middlefield, Connecticut. Kimbro shot Rackley once in the head and McLucas shot him once in the chest. They dumped his corpse in a swamp, where it was discovered the next day. New Haven police immediately arrested eight New Haven area Black Panthers. Sams and two other Panthers from California were captured later. Sams and Kimbro confessed to the murder, and agreed to testify against McLucas in exchange for a reduction in sentence. Sams also implicated Seale in the killing, telling his interrogators that while visiting the Panther headquarters on the night of his speech, Seale had directly ordered him to murder Rackley. In all, nine defendants were indicted on charges related to the case. In the heated political rhetoric of the day, these defendants were referred to as the "New Haven Nine", a deliberate allusion to other cause-celebre defendants like the "Chicago Seven". The first trial was that of Lonnie McLucas, the only person who physically took part in the killing who refused to plead guilty. In fact, McLucas had confessed to shooting Rackley, but nonetheless chose to go to trial. Jury selection began in May 1970. The case and trial were already a national cause célèbre among critics of the Nixon administration, and especially among those hostile to the actions of the FBI. Under the Bureau's then-secret "Counter-Intelligence Program" (COINTELPRO), FBI director J. Edgar Hoover had ordered his agents to disrupt, discredit, or otherwise neutralize radical groups like the Panthers. Hostility between groups organizing political dissent and the Bureau was, by the time of the trials, at a fever pitch. Hostility from the left was also directed at the two Panthers cooperating with the prosecutors. Sams in particular was accused of being an informant, and lying to implicate Seale for personal benefit. In the days leading up to a rally on May Day 1970, thousands of supporters of the Panthers arrived in New Haven individually and in organized groups. They were housed and fed by community organizations and by sympathetic Yale students in their dormitory rooms. The Yale college dining halls provided basic meals for everyone. Protesters met daily en masse on the New Haven Green across the street from the Courthouse (and one hundred yards from Yale's main gate). On May Day there was a rally on the Green, featuring speakers including Jean Genet, Abbie Hoffman, Jerry Rubin, and John Froines (an assistant professor of chemistry at the University of Oregon). Teach-ins and other events were also held in the colleges themselves. Towards midnight on May 1, two bombs exploded in Yale's Ingalls Rink, where a concert was being held in conjunction with the protests.[4] Although the rink was damaged, no one was injured, and no culprit was identified.[4] Yale chaplain William Sloane Coffin stated, "All of us conspired to bring on this tragedy by law enforcement agencies by their illegal acts against the Panthers, and the rest of us by our immoral silence in front of these acts," while Yale President Kingman Brewster Jr. issued the statement, "I personally want to say that I'm appalled and ashamed that things should have come to such a pass that I am skeptical of the ability of a Black revolutionary to receive a fair trial anywhere in the U.S." Brewster's generally sympathetic tone enraged many of the university's older, more conservative alumni, heightening tensions within the school community. As tensions mounted, Yale officials sought to avoid deeper unrest and to deflect the real possibility of riots or violent student demonstrations. Sam Chauncey has been credited with winning tactical management on behalf of the administration to quell anxiety among law enforcement and New Haven's citizens, while Kurt Schmoke, a future Rhodes Scholar, mayor of Baltimore, MD and Dean of Howard University School of Law, has received kudos as undergraduate spokesman to the faculty during some of the protest's tensest moments. Ralph Dawson, a classmate of Schmoke's, figured prominently as moderator of the Black Student Alliance at Yale (BSAY). In the end, compromises between the administration and the students - and, primarily, urgent calls for nonviolence from Bobby Seale and the Black Panthers themselves - quashed the possibility of violence. While Yale (and many other colleges) went "on strike" from May Day until the end of the term, like most schools it was not actually "shut down". Classes were made "voluntarily optional" for the time and students were graded "Pass/Fail" for the work done up to then. Trial of McLucas Black Panther trial sketch...

Stella, Joseph. STUDY OF A MAN WITH A HAT AND OVERCOAT. Blue, red and black crayon on tan wove paper, c. 1920. 6 7/8 x 4 3/4 inches; 173 x 120 mm. Signe...

Untitled (Woman by the Windows) Unsigned. Pastel on board, c. 1915 Created while the artist was in Giverny, France Provenance: Gift of the artist to his wife, Mary Hess Buehr by Desc...

1.0 M (DETECTIVE COMICS) and 1.2M BAT MAN, Diptych, 2023 by Rodrigo Spinel From the series Currency Chinese ink on Fabriano paper 250 g. Overall Frame size: 43 cm H x 68 cm W x 3 c...

Many of you clicking on this wonderful pen-and-ink are probably doing so because you know of Ellsworth Woodward, who with his brother William Woodward around the turn of the 20th century sparked an arts renaissance in the South, the arts and culture in general having been mostly moribund since the dispiriting defeat experienced in the Civil War. I won't bog you down with lots of detail here since all you have to do is Google his name to bring up a wealth of information about him. He is most famous for his leadership of the arts program at Newcomb College in New Orleans, and its famous Newcomb Pottery...

Many of you clicking on this pen-and-ink of a pretty Edwardian-era lady are probably doing so because you know of Ellsworth Woodward, who with his brother William Woodward around the...

Signed and dated (on back) "January 1845/ J.E.J." Provenance: Mr. and Mrs. Bertram Rowland, Buckingham, PA Mr. and Mrs. Edward Abraham, West Chester, PA Hirschl & Adler Galleries...