Florida - Figurative Drawings and Watercolors

This has young ISraeli pioneers dancing with the flag as typical of works of the late British mandate Palestine era early state of Israel. Genre: Modern Subject: Figurative (stained glass style) Medium: Mixed media gouache on paper Hand signed lower left Alexander Raymond Katz, Hungarian / American (1895 – 1974) Alexander Raymond Katz was born in Kassa, Hungary, and came to the United States in 1909. He studied at the Art Institute of Chicago and the Chicago Academy of Fine Arts. In the late 1920s, he worked as a director of the Poster Department at Paramount Studios. He was appointed the Director of Posters for the Chicago Civic Opera in 1930. During the Great Depression, notable architect Frank Lloyd Wright urged Katz to become a muralist. In 1933, he was commissioned to paint a mural for the Century of Progress exposition in Chicago. In 1936, he painted the mural History of the Immigrant for the Madison, Ill., post office. Katz’s works were included in various exhibitions and now are part of several museum collections, including those of the Art Institute of Chicago; Corcoran Gallery of Art, Washington, D.C.; and the Jewish Museum, New York. His murals, bas-reliefs and stained glass designs adorn more than 200 Jewish synagogues in the United States. Katz and other Jewish artists in Chicago who expressed Jewish and Biblical themes were inspired by the artist Abel Pann (1883-1963). Pann, who is regarded as the leading painter of the Land of Israel, exhibited in the Art Institute of Chicago in 1920. Early in his career, Katz began to explore the artistic possibilities inherent in the characters of the Hebrew alphabet. He developed aesthetic and philosophical interpretations of each letter and became the leading innovator and pioneer in the field of Hebraic art. Katz applies this concept in the woodcut Moses and the Burning Bush. Hebrew letters appears in Moses’ head, his cane and inside the flame. The initial of Moses’ name crowns his head. The letter in the flame is the first letter of the name of God. A combination of images and Hebrew letters appeared commonly in illustrations of the scene Moses and the Burning Bush in the Haggadah, the book of Passover. The symbolism of the burning bush corresponds to the motifs of A Gift to Biro-Bidjan. Among the fourteen participating artists were notable Chicago modernists Todros Geller, Mitchell Siporin...

Beautifully executed original watercolor by French artist Fernand Guignier of a street scene in Montmartre, Paris. Signed lower right and dated 1949. Titled lower left, “Montmartre”. Fernand Guignier was a student of the sculptors Emil Derré and Jean-Antoine Injalbert at the École des Beaux Arts in Paris . Between 1926 and 1960 he took part in the Salon des Artistes Français in the Palais de Tokyo. The watercolor is housed in its original off white wood frame. Under glass. Condition is very good. Overall framed measurements are 18.25 by 16.5 inches. Provenance: A Sarasota, Florida collector. Fernand Guignier Born: 1902 Died: 1972 Known for: Paris street scene watercolor...

Original watercolor and gouache artwork on archival paper of a Christmas scene used by the Fravessi Card Company as a holiday card. Signed lower left. Artist name and address and da...

Edwin, 2013 by Celso Castro Crayon, pencil on paper Image size: 39.2 H in. x 28 in. W Unframed ____________ Undefined by medium, Celso Castro’s works each carry the presence of the...

William Anthony, born 1934, Forth Monmouth, NJ. and grew up in Washington State. Education 1958 Yale, New Haven, CT, B.A European History 1959-60 San Francisco Art Institute, CA 196...

Original watercolor on archival paper of a ballet rehearsal by the American artist Grace Haverty signed lower left with Transparent Watercolor Society of American to the right of sig...

William Anthony, (1934 - 2022) Gilles, 1982 Matted 17 X 15 (not framed,) sheet is 9.5 X 12.5, drawing is a bit smaller. American painter, illustrator and draftsman William Anthony ...

Dennis Oppenheim (1938 - 2011) Pencil and colored pencil drawing on paper, 'Memory Generator Receiver; Transmitter project for ACE Gallery Los Angeles' (possibly with watercolor pai...

Ana Adelaida, 2013 by Celso Castro Crayon, watercolor on paper Image size: 39.2 H in. x 28 in. W Unframed ____________ Undefined by medium, Celso Castro’s works each carry the pres...

Camilo, 2014 by Celso Castro Pencil, Crayon on paper Image size: 39.2 H in. x 28 in. W Unframed ____________ Undefined by medium, Celso Castro’s works each carry the presence of th...

Signed at lower left: SSYoung Inscribed at lower right: Daufuskie Island The artistʼs inscription on the verso side of this work reads: Miss Rubyʼs farm on the Gullah Island of Da...

This is titled "Karrierist" the German word for careerist and depicts a surreal face on a figure with a Salvador Dali esque quality about it. Published by Edition Hansjörg Mayer, Stuttgart They published concrete poetry and art books by Mark Boyle, Richard Hamilton, Dorothy Iannone, John Latham, Tom Phillips, Dieter Roth, André Thompkins and Emmett Williams, to name just a few. André Thomkins (1930 - 1985) was a Swiss painter, illustrator, and poet. He attended art-school, taught by Max von Moos, 1947 – 1949 and the Académie de la Grande Chaumière, Paris, France, 1950. From 1952, he lived in Germany and taught at the Kunstakademie Düsseldorf between 1971 and 1973. Thomkins painted and drew ironic and fantastic pictures influenced by surrealism and dadaism. Together with Dieter Roth and Daniel Spoerri he prepared works of Eat Art. He also was a writer of palindromes. His friends and collaborators included Daniel Spoerri, Dieter Roth, George Brecht, Richard Hamilton and Karl Gerstner, Thomkins gained a reputation as an ‘artist’s artist’, and is considered one of the most important Swiss artists of the second half of the twentieth century.He died in 1985. His work is currently represented by Hauser & Wirth Zurich, Switzerland. Select group exhibitions: 2018 Kunsthalle Krems, 'Pablo Picasso. Arshile Gorky, Andy Warhol. Sculptures and Works on Paper. Hubert Looser Collection', Krems, Austria 2017 Kunsthandel Wolfgang Werner, 'Martin Barré, Karl Otto Götz, Ernst Wilhelm Nay, André Thomkins', Berlin, Germany 2013 Fabian & Claude Walter Galerie, 'Schweizer Avantgarde Kunst nach 1940', Zurich, Switzerland 2009 The Modern Institute, 'Thomas Houseago, Dieter Roth, Andre Thomkins', Glasgow, England Museum of Modern Art, 'Compass in Hand: Selections from the Judith Rothschild Collection', NYC 2004 Kunsthandel Wolfgang Werner, 'Arman, Baumeister, Götz, Graubner, Tàpies, Thomkins', Berlin, Germany 1994 Kunstmuseum Solothurn, 'Eine Schenkung. Grafik von Eduardo Chillida, Antoni Tàpies, Alexander Calder, Jean Dubuffet, Ben Nicholson, Giacometti, Tinguely, Thomkins', Solothurn, Switzerland 1992 Galerie Littmann, Tinguely zu Ehren. A Tribute to Jean Tinguely. Hommage à Tinguely, Basel, 1988 Museum Ludwig, 'Uebrigens sterben immer die anderen. Marcel Duchamp und die Avantgarde seit 1950', Cologne, Germany 1987 Aargauer Kunsthaus, 'Otto Grimm. Marc-Antoine Fehr. Christoph Gredinger', Aarau, Switzerland Cercle Municipal, 'Art contemporain suisse. Collection de la Banque du Gothard', Luxembourg, 1985 Centre national d'art et de culture Georges Pompidou, 'Livres d'artistes', Paris, France Rathaus, 'Claude Sandoz – Hans Schärer...

Original pastel on watercolor paper by the American artist, Lillian Grace Delevoryas. Signed lower left. Titled and dated verso 1990. The artwork depicts an artist at work in a mar...

This depicts a wedding scene in a style of German Expressionism. hand signed and hand painted in watercolor. Ilya Shenker, Russian/American (1922 - ) As a soldier in World War II, he survived where millions perished. Upon returning to his home town of Odessa, felt abandoned and alone. He studied Art and Architecture in Odessa, but, one of a number of Russian Jewish artists allowed to emigrate, he left for America when the opportunity arose. He settled in New York City, a choice that has forever impacted his oeuvre. Many of his pictures depict New York cityscapes and lifestyle; however, they remain typically Russian. His subject matter often comes from memory and includes the life that he left behind, family, and friends. Drawing upon his Jewish heritage for inspiration, Shenker also paints historical events, such as "On the Eve of the Assault" in which he portrayed the last night before the destruction of Jerusalem. He has also illustrated a number of classics of Russian literature including Alexander Pushkin. His use of imagination also applies to the figures in his expressionist paintings—fictional characters such as the Spanish literary character Don Quixote make appearances in his work. He has also placed figures such as Rembrandt and Picasso in modern settings: in "Rembrandt Visiting our Family," Shenker sits his most favored artist at his family table, in a tribute to someone he describes as a "peoples artist." He is one in a long line of great Soviet Russian Judaica Jewish artists beginning with Yehuda Pen, who founded Russia's first art school for Jews in Vitebsk in 1897 continuing with his students, including Marc Chagall and El Lissitzky, Natan Altman, Leon Bakst and Robert Falk...

Mid-century artist Lawrence Kupferman paints a madly eerie New York street scene. An exaggerated upward view of two 19th-century walk-ups is split by a forced perspective of a downwa...

Signed in English and in Hebrew Abstract Expressionist bold, vibrant, colorful watercolor painting. Aharon Giladi, Israeli painter, born in Russian Empire, 1907-1993 Aharon Golodetz...

115 years after they were created, one can view these silhouettes differently than the artist’s intent. After all, the genesis of this work was an editorial illustration for Life Magazine to showcase elaborate women’s hats. They were done for a commercial assignment with a deadline, and picky editors were overseeing the final work. Today, they have a dual meaning. These charming silhouettes are abstractions as much as they are representations. Moreover, each one is a compact little gem stuffed with observational detail. Golden Age female illustrator Jesse Gillespie's mastery of technical skill, is apparent in minute details and composition. Young women, old women, pendants, necklaces, feathers, and laced vails all contribute to the works understated complexity. The identity of the subjects are revealed by small areas of exposed neck and chin. As the viewers eyes goes from left to right - all six silhouettes read as fashion hieroglyphs in a sentence with a visual rhythm and cadence. . Initialed JG lower right., Matted but not framed. Published: Life Magazine, March 17th, 1910. Provenance: Honey and Wax Bookstore ________________________________ From Wikipedia, the free encyclopedia Jessie Gillespie Willing (March 28, 1888 – August 1, 1972) was an American illustrator during the Golden Age of illustration. She was considered the foremost silhouette illustrator of her time, although she did traditional illustration as well. Willing illustrated for books and magazines including Life, The Ladies' Home Journal, Woman's Home Companion, Mother and Child, McClure's Magazine, Childhood Education, the Sunday Magazine, Association Men (the magazine of the YMCA), Farm and Fireside, Every Week, Children: The Magazine for Parents (which became Parents Magazine), and the American Magazine. She is perhaps most well known for her work for the Girl Scouts. Early life Willing was born in Brooklyn on March 28, 1888 to John Thomson Willing (August 4, 1860 – July 8, 1947)[1][2] and Charlotte Elizabeth Van Der Veer Willing (December 1, 1859 – March 4, 1930).[3] Thomson Willing was a noted illustrator and art editor. He was also well known for finding new artistic talent. Jessie Willing was the eldest of three children. Her brother Van Der Veer (November 30, 1889 – January 14, 1919), who died of pneumonia at the age of 29, was an advertising agent.[4] Her sister Elizabeth Hunnewell Willing (July 26, 1908 – August 15, 1991) was one of the first women to graduate from the Philadelphia Divinity School.[5][6] Elizabeth married the Rev. Orrin Judd, rector of St. Mary's Episcopal Church, on September 22, 1931, and was active in church work.[citation needed] The Willing family moved to the Germantown neighborhood of Philadelphia in 1901 or 1902. Jessie Willing attended the Stevens School, from which she graduated in 1905. She then went on to attend the Philadelphia Academy of Fine Arts from 1906 to 1907.[7][8] Career Willing used her middle name Gillespie as her professional surname. She also often signed her illustrations J.G.[9] The story goes that the art editor of Life magazine was in Thomson Willing's office when he was the art editor of the Associated Sunday Magazine syndicate. Thomson Willing had some of Jessie's artwork on his desk, which the Life editor saw and admired. He asked for the artist's information so that he could give her freelance work. Thomson Willing did not want to be accused of nepotism so he persuaded Jessie to use Jessie Gillespie as her professional name, which she did.[10][11] In addition to her extensive illustration work, Willing was also the editor of Heirlooms and Masterpieces from 1922 to 1931 and the art editor of Jewelers' Circular-Keystone from 1933 to 1939.[12] She specialized in jewelry publicity and advertising. In 1966 she won the Gold medal of the Printing Week Graphic Arts Exhibit in Philadelphia for her Christmas catalog for J.E. Caldwell Co., Philadelphia. Willing was a member of the Plastic Club of Philadelphia,[13] the American Institute of Graphic Arts (AIGA) and the National Arts Club of New York.[14] She was an honorary life member of the National Arts Club[15] and served on its Board of Governors from 1941-1970. In 1963, she received the Gold Medal of the National Arts Club in recognition of 32 years of selfless devotion.[15] Additionally, she was the national director of the American Institute of Graphic Arts (AIGA) from 1943 to 1946.[15] Previous to this she served as the Program Chairman of the AIGA and in that position she put together a travelling exhibit on the "history of narrative art from the first recorded picture story to the comic book of the twentieth century."[16][17] Illustrations in books With Tongue and Pen--Frederick Bair, et al. (MacMillan, 1940) Masoud the Bedouin--Alfred Post Carhart (Missionary Education Movement, 1915) The Path of the Gopatis--Zilpha Carruthers (National Dairy Council, 1926) The Schoolmaster and His Son: A Narrative of the Thirty Years War--Karl Heinrich Caspari (Lutheran Publication Society, 1917) On a Rainy Day--Dorothy Canfield Fisher and Sarah Scott Fisher (A.S. Barnes and Co., 1938) Book of Games for Home, School and Playground--William B. Forbush and Harry R Allen...

14x11.5 image size , 22.5x17.5 backing size The New-York born artist William Gropper was a painter and cartoonist who, with caricature style, focused on social concerns, and was ac...

This depicts a feast style celebration scene in a style of German Expressionism. hand signed and hand painted in watercolor. Ilya Shenker, Russian/American (1922 - ) As a soldier in World War II, he survived where millions perished. Upon returning to his home town of Odessa, felt abandoned and alone. He studied Art and Architecture in Odessa, but, one of a number of Russian Jewish artists allowed to emigrate, he left for America when the opportunity arose. He settled in New York City, a choice that has forever impacted his oeuvre. Many of his pictures depict New York cityscapes and lifestyle; however, they remain typically Russian. His subject matter often comes from memory and includes the life that he left behind, family, and friends. Drawing upon his Jewish heritage for inspiration, Shenker also paints historical events, such as "On the Eve of the Assault" in which he portrayed the last night before the destruction of Jerusalem. He has also illustrated a number of classics of Russian literature including Alexander Pushkin. His use of imagination also applies to the figures in his expressionist paintings—fictional characters such as the Spanish literary character Don Quixote make appearances in his work. He has also placed figures such as Rembrandt and Picasso in modern settings: in "Rembrandt Visiting our Family," Shenker sits his most favored artist at his family table, in a tribute to someone he describes as a "peoples artist." He is one in a long line of great Soviet Russian Judaica Jewish artists beginning with Yehuda Pen, who founded Russia's first art school for Jews in Vitebsk in 1897 continuing with his students, including Marc Chagall and El Lissitzky, Natan Altman, Leon Bakst and Robert Falk...

This depicts a wedding scene in a style of German Expressionism. hand signed and hand painted in watercolor. Ilya Shenker, Russian/American (1922 - ) As a soldier in World War II, he survived where millions perished. Upon returning to his home town of Odessa, felt abandoned and alone. He studied Art and Architecture in Odessa, but, one of a number of Russian Jewish artists allowed to emigrate, he left for America when the opportunity arose. He settled in New York City, a choice that has forever impacted his oeuvre. Many of his pictures depict New York cityscapes and lifestyle; however, they remain typically Russian. His subject matter often comes from memory and includes the life that he left behind, family, and friends. Drawing upon his Jewish heritage for inspiration, Shenker also paints historical events, such as "On the Eve of the Assault" in which he portrayed the last night before the destruction of Jerusalem. He has also illustrated a number of classics of Russian literature including Alexander Pushkin. His use of imagination also applies to the figures in his expressionist paintings—fictional characters such as the Spanish literary character Don Quixote make appearances in his work. He has also placed figures such as Rembrandt and Picasso in modern settings: in "Rembrandt Visiting our Family," Shenker sits his most favored artist at his family table, in a tribute to someone he describes as a "peoples artist." He is one in a long line of great Soviet Russian Judaica Jewish artists beginning with Yehuda Pen, who founded Russia's first art school for Jews in Vitebsk in 1897 continuing with his students, including Marc Chagall and El Lissitzky, Natan Altman, Leon Bakst and Robert Falk...

This depicts a wedding scene in a style of German Expressionism. hand signed and hand painted in watercolor. Ilya Shenker, Russian/American (1922 - ) As a soldier in World War II, he survived where millions perished. Upon returning to his home town of Odessa, felt abandoned and alone. He studied Art and Architecture in Odessa, but, one of a number of Russian Jewish artists allowed to emigrate, he left for America when the opportunity arose. He settled in New York City, a choice that has forever impacted his oeuvre. Many of his pictures depict New York cityscapes and lifestyle; however, they remain typically Russian. His subject matter often comes from memory and includes the life that he left behind, family, and friends. Drawing upon his Jewish heritage for inspiration, Shenker also paints historical events, such as "On the Eve of the Assault" in which he portrayed the last night before the destruction of Jerusalem. He has also illustrated a number of classics of Russian literature including Alexander Pushkin. His use of imagination also applies to the figures in his expressionist paintings—fictional characters such as the Spanish literary character Don Quixote make appearances in his work. He has also placed figures such as Rembrandt and Picasso in modern settings: in "Rembrandt Visiting our Family," Shenker sits his most favored artist at his family table, in a tribute to someone he describes as a "peoples artist." He is one in a long line of great Soviet Russian Judaica Jewish artists beginning with Yehuda Pen, who founded Russia's first art school for Jews in Vitebsk in 1897 continuing with his students, including Marc Chagall and El Lissitzky, Natan Altman, Leon Bakst and Robert Falk...

Ernst Ludwig Kirchner ( Germany 1880-1938 ) Expressionist Female Women Dancing Mixed Media on Paper Drawing or Painting Expressionism Dimensions: 20" L 16" H in This bore a sticker from Christies auction house and another collection sticker verso but they have been inadvertently removed. I do have the photo. Ernst Ludwig Kirchner (1880 – 1938) was a German expressionist painter and printmaker and one of the founders of the artists group Die Brücke or "The Bridge", a key group leading to the foundation of Expressionism in 20th-century art. He volunteered for army service in the First World War, but soon suffered a breakdown and was discharged. His work was branded as "Entartete Kunst" or "degenerate" by the Nazis in 1933, and in 1937 more than 600 of his works were sold or destroyed. Ernst Ludwig Kirchner was born in Aschaffenburg, Bavaria. His parents were of Prussian descent and his mother was a descendant of the Huguenots, a fact to which Kirchner often referred. As Kirchner's father searched for a job, the family moved frequently and Kirchner attended schools in Frankfurt and Perlen until his father earned the position of Professor of Paper Sciences at the College of technology in Chemnitz, where Kirchner attended secondary school. Although Kirchner's parents encouraged his artistic career they also wanted him to complete his formal education so in 1901, he began studying architecture at the Königliche Technische Hochschule (royal technical university) of Dresden. The institution provided a wide range of studies in addition to architecture, such as freehand drawing, perspective drawing and the historical study of art. While in attendance, he became close friends with Fritz Bleyl, whom Kirchner met during the first term. They discussed art together and also studied nature, having a radical outlook in common. Kirchner continued studies in Munich from 1903 to 1904, returning to Dresden in 1905 to complete his degree. In 1905, Kirchner, along with Bleyl and two other architecture students, Karl Schmidt-Rottluff and Erich Heckel, founded the artists group Die Brücke ("The Bridge") later to include Emil Nolde, Max Pechstein and Otto Mueller. From then on, he committed himself to art. The group aimed to eschew the prevalent traditional academic style and find a new mode of artistic expression, which would form a bridge (hence the name) between the past and the present. They responded both to past artists such as Albrecht Dürer, Matthias Grünewald and Lucas Cranach the Elder, as well as contemporary international avant-garde movements. As part of the affirmation of their national heritage, they revived older media, particularly woodcut or woodblock prints. Kirchner's studio became a venue which overthrew social conventions to allow casual love-making and frequent nudity. Group life-drawing sessions took place using nude models from the social circle, rather than professionals, and choosing quarter-hour poses to encourage spontaneity. In 1911, he moved to Berlin, where he founded a private art school, MIUM-Institut, in collaboration with Max Pechstein with the aim of promulgating "Moderner Unterricht im Malen" (modern teaching of painting). This was not a success and closed the following year, when he also began a relationship with Erna Schilling that lasted the rest of his life. In 1917, at the suggestion of Eberhard Grisebach [de], Helene Spengler invited Kirchner to Davos where he viewed an exhibition of Ferdinand Hodler paintings. "When I was leaving, I thought of Vincent Van Gogh's fate and thought that it would be his as well, sooner or later. Only later will people understand and see how much he has contributed to painting". In 1921 Kirchner visited Zurich at the beginning of May and met the dancer, Nina Hard, whom he invited back to Frauenkirch (despite Erna's objections). Nina Hard would become an important model for Kirchner and would be featured in many of his works. Kirchner began creating designs for carpets which were then woven by Lise Gujer. In 1925, Kirchner became close friends with fellow artist, Albert Müller...

Untitled, 1996 by Celso Castro Pencil on archival paper Image size: 39 H in. x 48 in. W Sheet size: 43 H in. x 59 in. W Unframed ____________ Undefined by medium, Celso Castro’s w...

The work represents a carefully rendered and meticulously observed environmental portrait of a young girl absorbed in study in front of a book case. It celebrates the intelligence o...

Four young English girls with flowers are shown in a line and moving from left to right. They are pushed forward on the picture plane as if they were on a stage with a simple indica...

Barca de Refugiados, 1999 by Celso Castro Crayon and pastel on archival paper Image size: 45 H in. x 59 in. W On the back of the painting: Maranones "Lunes 23 de mayo 2016" Pencil...

Recanato y compañero, viernes 3 de junio 2016, by Celso Castro Crayon Pastel on archival paper Image size: 59 H in. x 39.5 in. W On the back of the painting: Untitled, 1986 Crayon...

Pedro Pablo 1998, by Celso Castro Black crayon on archival paper Image size: 40 H in. x 48 in. W Sheet size: 45 H in. x 59 in. W Unframed ____________ U...

Maranones "Lunes 23 de mayo 2016" by Celso Castro Pencil, crayon, and pastel on archival paper Image size: 59 H in. x 45 in. W On the back of the painting: Barca de Refugiados, 199...

Original watercolor and gouache artwork on archival paper of a Christmas scene used by the Fravessi Card Company as a holiday card. Signed lower left. Artist name and address and da...

Untitled, 1986 Diptych Reverse, by Celso Castro Daza Crayon on archival paper Image size: 39.5 H in. x 59 in. W On the back of the painting: Recanato y compañero, viernes 3 de juni...

The Old Man from the last expo, 2016 by Celso Castro-Daza Crayon pencil on archival paper Paper size: 59 H in. x 43 in. W Image size: 54 H in. x 40 in. W On The back of the painti...

Poncho viernes 27 de mayo 2016, by Celso Castro Crayon Pastel on archival paper Image size: 59 H in. x 39 in. W Unframed ____________ Undefined by medium, Celso Castro’s works each...

Untitled Portrait figurative, no date. Reverse by Celso Castro-Daza Pencil and watercolor or archival paper Image size: 40 H in. x 59 in. W On the back of the painting: Desnudo con...

Famed Puerto Rican Fashion Illustrator Antonio Lopez creates an oversized illustration for Vogue Patterns Magazine 1971. He uses a variety of media whic...

Desnudo con medias, sábado 4 de junio, 2016 by Celso Castro-Daza Pastel and Crayon or archival paper Image size: 59 H in. x 40 in. W On the back of the painting: Portrait figurati...

Poncho Jueves 26 de Mayo, "Requiem por la condesa Nubia Brashi", 2016 Pencil on archival paper Image size: 59 H in. x 40 in. W On The back of the painting: Carlos. Martes 24 de May...

Carlos. Martes 24 de Mayo, 2016 by Celso Castro Pastel on archival paper Image size: 59 H in. x 40 in. W On The back of the painting: Poncho Jueves 26 de Mayo, "Requiem por la con...

Untitled- Portrait, 1997 by Celso Castro-Daza Pencil or archival paper Image size: 48 H in. x 36.5 in. W Framed: 58 H x 41 in. W 2 in. D Drawing on paper is his basic work tool, s...

This cartoon by Charles Addams is generations ahead of its time. To get the punch line, you need to know the meaning of a Satyr or Pan. Satyr: Part man and part beast. - A male nature spirit with ears and a tail resembling those of a horse, as well as a permanent, exaggerated permanent erection. Early artistic representations sometimes include horse-like legs; Satyrs were characterized by their vulgar, indecent ribaldry, and were rowdy lovers of wine, music, dancing, and women. They inhabited remote locales, such as woodlands, and they often attempted to seduce or rape nymphs and mortal women alike. It's prudish 1950s America, where TV programs show husband and wife sleeping in separate beds. The discussion and representation of sex was repressed. To make a bold statement about censorship and the uncompromising moral climate of the time, Addams uses a reference from the mythical world to make a statement about the real world. In doing so, he anticipates the sexual revolution of the late 1960s and 1970s. The satyr/pan symbolizes nonconformistism. He has his own earthy customs, attitudes, and ideas. Because of that is being handcuffed and formally taken away by the state whose goal is to repress natural erotic fun and frolic that is ubiquitous in todays society. A proper and perfectly pressed Park Ranger cleans out a lustful undesirable from pristine woodlands. With startled expressions, a vulnerable family of correct women witness the event as they are about to have a picnic. The Satyr grasps his Pipes of Pan just over his crotch. The background is populated by phallic symbols. This is one a the rare instances where Addams address the issue of sex. The Ranger is a dead ringer as a self portrait of Addams. Original illustration for a cartoon, showing a uniformed ranger leading away a manacled satyr, in front of a startled picnic party. Ink and grisaille wash on Whatman cold press illustration board, signed "Chas Addams...

29.4M. CRYPTO PUNK, 2023 by Rodrigo Spinel Chinese ink on Fabriano paper 250 g. Frame size: 43 cm H x 43 cm W x 3 cm D Image size: 30 cm H x 30 cm W Unique Ivory Wood Brown Frame ...

1.0 M (DETECTIVE COMICS), 2023 by Rodrigo Spinel Chinese ink on Fabriano paper 250 g. Frame size: 43 cm H x 34 cm W x 3 cm D Image size: 30 cm H x 21 cm W Unique Ivory Wood Brown ...

3.2 M (ACTION COMICS), 2023 by Rodrigo Spinel Chinese ink on Fabriano paper 250 g. Frame size: 43 cm H x 34 cm W x 3 cm D Image size: 30 cm H x 21 cm W Unique Ivory Wood Brown Fra...

Luis Miguel Valdes (Cuba, 1949) 'Gorda 4', 2007 acrylic on paper Canson 320 g. 21.5 x 15 in. (54.5 x 38 cm.) ID: 1D200715 Hand-signed by author ______________________________________...

Arabian Charger Seller" by Antonio Rivas (Spanish, 1845-1911) stands as an exquisite example of Orientalism, a 19th-century artistic movement that sought to depict the rich and diverse cultures of the East. Rivas, a master of his craft, delves into this genre with a keen eye for detail and a dedication to authenticity that brings the scene to life. In this antique watercolor on paper...

Fabled Vogue Magazine Cover Artist Eduardo Garcia Benito depicts a perfectly posed long-neck flapper with her reflection in a mirror, Her extrav...

Fabled Vogue Magazine Cover Artist Eduardo Garcia Benito depicts a perfectly posed long-neck flapper with her reflection in a mirror, Her extrav...

This early work from 1955 by Dong Kingman N.A. is as surreal as it is a document of a place. The artist effectively captures a slice of American urban life but constructs the compo...

The paper in some of these photos looks overly textured due to the sharpness of the high-res digital camera. In person, with the human eye, the paper looks reasonably smooth with out blemishes. For this fashion illustration, Georges Lepape paints a stunning abstract pattern for the subject dress that is repeated in her hair. The work represents an early use of metallic paint, with silver metallic in the dress and bronze metallic in the blouse. Lepape's highly detailed drawing becomes more evident the closer you look. It's quite amazing how deftly he rendered facial feature on such a small scale. "Eva" 1918 Gouache, watercolor, and ink on paper Signed and dated, lower right: '1918' Inscribed, verso: "Costume for L'enfantement du mort, (miracle en pourpre, et or.). Devised by Marcel L'Herbier and performed at the Théatre Edouard VII and the Comédie des Champs-Elysées, 1919" Provenance: Ex-collection Lucien...

Very well executed oil pastel on archival paper done in the style of the French Impressionists. Circa 1985. Condition is excellent. Illegible signed lower left. Possibly the arti...

12.5x9.25 size of piece without mat. This piece is two sided and has a drawing on the second side. Aharon Giladi, Israeli painter, born in Russian Empire, 1907-1993 Aharon Golodetz (later Giladi) was born in Belarus, Russia to a wealthy family. In 1923-1926, he studied at the Leningrad Academy of Art. In 1926, he was exiled to Siberia for Zionist activity. In 1929, he immigrated to the Land of Israel, then Palestine, and helped to found Kibbutz Afikim in the Jordan valley. In 1934, he married Dvora Sifelman and worked as a builder and plasterer. He began to draw sketches of kibbutz life and taught art locally. His dynamic lines link subject to subject and figure to figure, displaying the magical nexus between objects and figures while reserving the characteristic elements of each. Everything accords with the invisible spirit which hovers over all. In 1942, he published a book of sketches...

Lighthearted Illustration of Outdoor Pursuits This one of a fisherman signed "W. Steig" Provenance: from Mrs. Joseph B. Ryan, Commissioned by Joe Ryan for the bar at his ski resort, Mount Tremblant Lodge, in 1938. Mont Tremblant, P.Q., Canada Watercolor and ink on illustration board, sights sizes 8 1/2 x 16 1/2 in., framed. In 1938 Joe Ryan, described as a millionaire from Philadelphia, bushwhacked his way to the summit of Mont Tremblant and was inspired to create a world class ski resort at the site. In 1939 he opened the Mont Tremblant Lodge, which remains part of the Pedestrian Village today. This original illustration is on Whatman Illustration board. the board measures 14 X 22 inches. label from McClees Galleries, Philadelphia, on the frame backing paper. William Steig, 1907 – 2003 was an American cartoonist, sculptor, and, in his later life, an illustrator and writer of children's books. Best known for the picture books Sylvester and the Magic Pebble, Abel's Island, and Doctor De Soto, he was also the creator of Shrek!, which inspired the film series of the same name. He was the U.S. nominee for both of the biennial, international Hans Christian Andersen Awards, as a children's book illustrator in 1982 and a writer in 1988. Steig was born in Brooklyn, New York in 1907, and grew up in the Bronx. His parents were Polish-Jewish immigrants from Austria, both socialists. His father, Joseph Steig, was a house painter, and his mother, Laura Ebel Steig, was a seamstress who encouraged his artistic leanings. As a child, he dabbled in painting and was an avid reader of literature. Among other works, he was said to have been especially fascinated by Pinocchio.He graduated from Townsend Harris High School at 15 but never completed college, though he attended three, spending two years at City College of New York, three years at the National Academy of Design and a mere five days at the Yale School of Fine Arts before dropping out of each. Hailed as the "King of Cartoons" Steig began drawing illustrations and cartoons for The New Yorker in 1930, producing more than 2,600 drawings and 117 covers for the magazine. Steig, later, when he was 61, began writing children's books. In 1968, he wrote his first children's book. He excelled here as well, and his third book, Sylvester and the Magic Pebble (1969), won the Caldecott Medal. He went on to write more than 30 children's books, including the Doctor DeSoto series, and he continued to write into his nineties. Among his other well-known works, the picture book Shrek! (1990) formed the basis for the DreamWorks Animation film Shrek (2001). After the release of Shrek 2 in 2004, Steig became the first sole-creator of an animated movie franchise that went on to generate over $1 billion from theatrical and ancillary markets after only one sequel. Along with Maurice Sendak, Saul Steinberg, Ludwig Bemelmans and Laurent de Brunhofff his is one of those rare cartoonist whose works form part of our collective cultural heritage. In 1984, Steig's film adaptation of Doctor DeSoto directed by Michael Sporn was nominated for the Academy Award for Best Animated Short Film. As one of the most admired cartoonists of all time, Steig spent seven decades drawing for the New Yorker magazine. He touched generations of readers with his tongue–in–cheek pen–and–ink drawings, which often expressed states of mind like shame, embarrassment or anger. Later in life, Steig turned to children's books, working as both a writer and illustrator. Steig's children's books were also wildly popular because of the crazy, complicated language he used—words like lunatic, palsied, sequestration, and cleave. Kids love the sound of those words even if they do not quite understand the meaning. Steig's descriptions were also clever. He once described a beached whale as "breaded with sand." Throughout the course of his career, Steig compiled his cartoons and drawings into books. Some of them were published first in the New Yorker. Others were deemed too dark to be printed there. Most of these collections centered on the cold, dark psychoanalytical truth about relationships. They featured husbands and wives fighting and parents snapping at their kids. His first adult book, Man About Town, was published in 1932, followed by About People, published in 1939, which focused on social outsiders. Sick of Each Other, published in 2000, included a drawing depicting a wife holding her husband at gunpoint, saying, "Say you adore me." According to the Los Angeles Times, fellow New Yorker artist...

Raphael Soyer: 1899-1987. Well listed American social realist artist with Auction records up to $86,500. This wonderful pencil drawing really captures the old laborers personality.Th...

The Kelpie of Snooziepool - William Heath Robinson illustrated this whimsical fantasy work featuring a semi-nude beauty in a pool of water with children. Based on the Metropolitan ...

Street Costumes by Ruth Kreps. Signed lower right. Most likely for a book published in the 1930's about turn of the century women's fashion. "Costume Design of the Gay Nineties" T...

"Nude in Blue" Part of my Nude in Interior series. Female nude, ultramarine blue tempera on blue gray paper, inspired by Matisse. 70x50cm / 27.5x19.5in Shipped rolled in a tube from...

Stage costume drawing in the style of Ballet Russe. unsigned older piece.

Ben Zion Magal (1908 - 1999) Ben Zion Magal was born in 1908 in Kishinev - Russia and there, years later, graduated from the Art Academy. He arrived to Erertz Israel together with hi...