Manhattan - Drawings and Watercolor Paintings

Lyman Kipp Untitled Minimalist painting on paper, 1980 Color oil painting on paper done with ink paint roller Signed and dated on the front Unique Frame included Signed and dated 19...

Maeve D'Arcy Bells and Whistles, 2024 ink and colored pencil on paper 22 x 30 in. (dar148)

Maeve D'Arcy Birthday Season, 2024 ink and colored pencil on paper 22 x 30 in. (dar149)

El Temor (The Fear) (#1719) 2019 Signed in black ink, l.c. Watercolor, acrylic, and India ink on paper 30 x 22 inches This work is offered by ClampArt in New York City.

Ron Gorchov Untitled early 1960s Abstract Expressionist work, 1962 Ink and watercolor painting on paper Signed and dated in black ink lower left recto Frame included: elegantly floa...

Mark di Suvero To England with Love, ca. 1992 Graphite and marker Signed and inscribed in marker Unique Measurements: Matting: 12.25 inches vertical by 13 Artwork: 8.75 inches by 13 ...

Acrylic and mixed media on paper - Unframed. Werfel employs expressive, lyrical gestures that create bursts of movement and energy. Her color choices create a range of tones from th...

Andrei Petrov is an American artist of Russian origins. He is best known for his abstract oil paintings where calibrated stratifications of intense shades of colors are scraped to ex...

Anthony Padovano Untitled Abstract Expressionist drawing, 1971 Ink wash on paper drawing Signed and dated in ink wash Unique Original (unique) signed Abstract Expressionist ink wash ...

First Draft (#1707) 2019 Signed in black ink, c.r. Watercolor, acrylic, and India ink on paper 22 x 30 inches This work is offered by ClampArt in New York City.

JAY MILDER Untitled, ca. 1987 Gouache on Paper hand signed in pencil, lower left. Image is 9 square inches; framed it's 16 square inches Frame included: held in the original vintag...

Untitled (Double-Amputee with Gun) Signed, l.r. Ink, watercolor, and root beer on paper 12.5 x 9.75 inches, image This work is offered by CLAMP in New York City.

James Balla Untitled gouache painting, 1992 Mixed Media Oil on Linen Signed and dated on the front of the work; the verso of the frame bears the UFO (Albert Merola) gallery label. F...

Ink, watercolor, colored marker on paper

Meg Hitchcock The Nine Eyes Widely Opened, 2022 Text from The Tibetan Book of the Dead, acrylic graphite, ink, embroidery thread 14 x 11 in. frame size: 17.75 x 14.75 in. (Hit005)

Unidentified Artist, "Untitled: 1930s Drawing of a Seated Woman", Signed Figurative Pencil Drawing on Paper, 21 x 13.88, Early 20th Century, 1936 Colors: Black and White *Unknown Artist signature...

Rolph Scarlett Untitled Abstract Expressionist Painting, ca. 1960 Gouache, Ink, Watercolor on Paper . Hand signed, with original Jonas Aarons Gallery label 23 × 18 3/4 inches Signed ...

Unidentified/ Unknown Artist," Untitled: Front Nude Watercolor", Figurative Nude Academic Watercolor Painting on Paper, 18 x 13, Late 20th Century Colors: Black and White A 18 x 13...

A captivating miniature painting by renowned artist Dina Brodsky, known for her masterful technique in gouache and watercolor. This exquisite work, painted on authentic animal parchm...

Tess Michalik Birdvine Tangles, 2025 oil on yupo 38 x 25 in. (mic034)

Tess Michalik Plush Petals, 2025 oil on yupo 38 x 25 in. (mic037)

Line is the operative formal element in the work shown here, but there are many other lines in play. Pieces walk a line between drawings that might be tapestries or sculptures or pa...

Jennifer Losch Bartlett Ocean piece: Untitled painting studies, 1975 Ink and pastel, mixed media on graph paper Boldly signed and dated "Summer 75" by Jennifer Bartlett on the lower right front Frame included: held in a museum quality wood frame with UV plexiglass Ink and pastel on graph paper drawing. Boldly signed and dated "Summer 75" by Jennifer Bartlett on the lower right front. Some of the artist's annotations on the drawings say: Ocean piece Sky Water Beach Sometimes looking from water maybe see mountain two people on beach lying down sometimes they face each other ... bwhitefree hand drawing from water beach w/ towel sky sand water on a diagonal on a curve sky water sand...

Jo Mielziner (1901 – 1976) "Cat on a Hot Tin Roof," 7 ½ x 11 ½ inches. Pencil on paper. Label verso from Richard Stoddard, Dated June 18. 1996. Mr. Joe W...

Carolee Schneeman Infinity Kisses, 1988 Archival pigment print Signed and dated on the front This is a unique work of art Frame included Infinity Kisses for the artist's beloved cat...

This is a complicated drawing, even for Morris Graves (1910-2001), known as the Mystical Painter of Nature. Graves tried to be sensitive to the slightest tremor or breeze that a sma...

"Good Health Week" American Scene Modern Social Realism Mid- 20th Century WPA Era Jo Cain (1904 – 2003) Good Health Week – b/w 10 ½ x 15 1/2 inches I...

Colored marker on heavy paper

This is a pencil and watercolor drawing of a male figure by Pol Anglada offered by CLAMP in New York City. Untitled 2023 Pencil and watercolor on paper ...

Classical mythology is fraught with stories of sexual misdeeds by Zeus, King of the Gods. Often Zeus would fall in love with a mortal woman and then transform himself into an animal before acting on his desires. These have been recreated by many masters though the millennia. Here, Reuben Nakian masterfully, yet tastefully, recreates the tale of Leda and the...

Jene Highstein Untitled, 1982 Pastel and Chalk on Paper Hand signed and dated by artist on the front 32 × 40 inches Frame included Original hand signed pastel and chalk drawing, with...

Santi Moix Seeing Don Quixote and Sancho ("the famous pair"), ca. 2008 Drypoint, etching and abrasion with hand coloring with watercolor, along with graphite annotations Hand signed ...

Unknown/Unidentified Artist, "Untitled: Women In Bath", Signed Figurative/ Nude Watercolor, Charcoal (Mixed Media) Painting on Paper, 14 x 17, Late 20th Century, 1967 Colors: Black,...

Joseph Stella was a visionary artist who painted what he saw, an idiosyncratic and individual experience of his time and place. Stella arrived in New York in 1896, part of a wave of Italian immigrants from poverty-stricken Southern Italy. But Stella was not a child of poverty. His father was a notary and respected citizen in Muro Locano, a small town in the southern Appenines. The five Stella brothers were all properly educated in Naples. Stella’s older brother, Antonio, was the first of the family to come to America. Antonio Stella trained as a physician in Italy, and was a successful and respected doctor in the Italian community centered in Greenwich Village. He sponsored and supported his younger brother, Joseph, first sending him to medical school in New York, then to study pharmacology, and then sustaining him through the early days of his artistic career. Antonio Stella specialized in the treatment of tuberculosis and was active in social reform circles. His connections were instrumental in Joseph Stella’s early commissions for illustrations in reform journals. Joseph Stella, from the beginning, was an outsider. He was of the Italian-American community, but did not share its overwhelming poverty and general lack of education. He went back to Italy on several occasions, but was no longer an Italian. His art incorporated many influences. At various times his work echoed the concerns and techniques of the so-called Ashcan School, of New York Dada, of Futurism and, of Cubism, among others. These are all legitimate influences, but Stella never totally committed himself to any group. He was a convivial, but ultimately solitary figure, with a lifelong mistrust of any authority external to his own personal mandate. He was in Europe during the time that Alfred Stieglitz established his 291 Gallery. When Stella returned he joined the international coterie of artists who gathered at the West Side apartment of the art patron Conrad Arensberg. It was here that Stella became close friends with Marcel Duchamp. Stella was nineteen when he arrived in America and studied in the early years of the century at the Art Students League, and with William Merritt Chase, under whose tutelage he received rigorous training as a draftsman. His love of line, and his mastery of its techniques, is apparent early in his career in the illustrations he made for various social reform journals. Stella, whose later work as a colorist is breathtakingly lush, never felt obliged to choose between line and color. He drew throughout his career, and unlike other modernists, whose work evolved inexorably to more and more abstract form, Stella freely reverted to earlier realist modes of representation whenever it suited him. This was because, in fact, his “realist” work was not “true to nature,” but true to Stella’s own unique interpretation. Stella began to draw flowers, vegetables, butterflies, and birds in 1919, after he had finished the Brooklyn Bridge series of paintings, which are probably his best-known works. These drawings of flora and fauna were initially coincidental with his fantastical, nostalgic and spiritual vision of his native Italy which he called Tree of My Life (Mr. and Mrs. Barney A. Ebsworth Foundation and Windsor, Inc., St. Louis, illus. in Barbara Haskell, Joseph Stella, exh. cat. [New York: Whitney Museum of American Art, 1994], p. 111 no. 133). Two Wood Ducks...

Gordon Hope Grant (1875-1962) created the watercolor entitled “The Lumber Wharf” in circa 1947. It is signed in the lower left 1 inch above the paper edge. The watercolor paper size ...

Francesco Spicuzza (American, 1883-1962) Untitled Landscape, 20th century Pastel on paper Sight size: 24 x 30 in. Framed: 26 1/4 x 32 3/8 in. Signed lower right: Spicuzza Italian-born Francesco Spicuzza was primarily a Wisconsin painter who did portraits, still-lives and local landscapes. He spent the first part of his life in near-poverty to become a painter. An eternal optimist, in 1917, the artist reported: "I am happy and my only ambition now is to paint better and better until I shall have reached the measure of the best of which I am capable." (Spicuzza, 1917, p. 22). His predilection for beach scenes germinated early: reportedly, the five-year-old boy first drew the outlines of his father's fishing boat in the sand on the seashore near their home in Sicily. After setting himself up as a fruit peddler in Milwaukee, Spicuzza's father sent for his family when Francesco was eight years old. For the following six years the boy was unable to attend school because of his job in his father's fruit and vegetable business. The poor lad suffered a caved-in shoulder from carrying a heavy wooden crate. The young Spicuzza was aided by moral and financial support from a sympathetic Milwaukee businessman named John Cramer, publisher and editor of the Evening Wisconsin, who raised Spicuzza's salary as a newspaper assembler so that he could attend school. In 1899 or 1900, Spicuzza began studying drawing and anatomy under Robert Schade (1861-1912), a painter of panoramas who had been trained in Munich under Carl Theodor von Piloty. Spicuzza was also taught by Alexander Mueller (1872-1935), a product of the Weimar and Munich academies. Mueller realized Spicuzza was a colorist and encouraged that orientation (Madle, 1961). Spicuzza found it beneficial to accept an apprenticeship in a lithographic studio for $8 a week, which demanded most of his time. During the St. Louis Universal Exposition in 1904, still a struggling student, Spicuzza attended the fair, thanks to Cramer. It was not long before Spicuzza received a twenty-five dollar portrait commission, and this inaugural success led to new commissions and allowed him to continue as a painter. The earliest influences in his work appear to be from Edward H. Potthast and Maurice Prendergast, though Spicuzza never mentioned either artist. Already in August 1910, Spicuzza was described in a newspaper as "one of the most talented of Milwaukee's rising workers." He undoubtedly received lasting inspiration from his one summer study period in 1911 with John F. Carlson at the Art Students League's Summer School in Woodstock, New York. Certainly Spicuzza would have picked up spontaneity in handling the brush from Carlson. Although he executed numerous still-lives and an occasional religious work, Spicuzza is best known for his Milwaukee beach scenes populated with frolicking bathers in multi-colored attire, not unlike the images of Potthast, who used a similar technique. Many of these are small, preparatory works on canvas board executed between 1910 and 1915. Frequently with even greater animation than Potthast, Spicuzza produced moving images of youthful energy and uninhibited child's play. These beach genre scenes reflect the attitude of American impressionists who depicted the more pleasant side of life. Spicuzza manipulated a successful balance of rich pigment applied in varying degrees of impasto texture with subtle nuances of hue. Working all'aperto, he sought "the soft enticing shades of yellow, blue, green, pink and lavender . . . to get the effects of bright glistening summer air." (L.E.S., n.d.). As a painter whose color not only derived from direct observation but also from a personal theory of color symbolism, Spicuzza traded the linear approach of lithography for dynamic patches of brilliant color. Like Prendergast, he would often tilt the angle of the picture plane to bring the viewer's position above the scene. Spicuzza was unable to enter the 1913 Armory Show or the Panama-Pacific International Exposition two years later but he did submit work to the annual exhibitions of the Pennsylvania Academy of the Fine Arts and those of the Art Institute of Chicago. His first important award was the bronze medal presented by the St. Paul Institute in 1913, which was followed by the silver medal two years later. Before long, Spicuzza had acquired a greater sense of security in his profession and was described by a writer in International Studio (April 1917) as "an independent artist with an assured future. His pastels and water-colours are poetic and joyous bits of nature with a genuine out-of-door feeling." In 1918, his Spirit of Youth, exhibited at the National Academy of Design, sold for $112.50. Four years later, the artist achieved his greatest local recognition by winning the gold medal from the Milwaukee Art Institute. Spicuzza spent a great deal of time painting en plein air and by 1925 he began summering at Big Cedar Lake, near West Bend, Wisconsin to gather his subject matter. Easter Morning (1926) owes something to the Symbolist movement, with its figure of Christ appearing over a seascape. During the difficult era of the Depression, patrons came to Spicuzza's aid and during the 40s, he taught housewives, businessmen and students at the Milwaukee Art Institute, the Milwaukee Art Center, and in his private studio. In the following decade, although his kind of art was no longer popular in the "make-it-or-break-it" New York gallery world, Spicuzza enjoyed regular patronage and sales. His beach scenes became more static and he would experiment with modernist techniques. Spicuzza died at the age of seventy-eight. Sources: L.E.S., "Do Colors Change a Person's disposition? Experiments of a Milwaukee Artist...

Tom Holland (b. 1936) Violet, 1971 Watercolor and Mixed Media on Paper. Hand Signed. Framed with Charles Cowles Gallery, Albright Knox Gallery and Baltimore Museum of Art labels. Han...

Diane Burko Lily Pond at Giverny, 1990 Hand colored monoprint (lithograph with hand coloring) Hand signed and numbered 8/95 by the artist and bears publisher's stamp on the front 21 ...

AMERICA'S CUP - 1967. WING MARK. INTREPID - DAME PATTIE [AUS]. This Joseph Webster Golinkin watercolor of the 1967 America's Cup depicts the...

Focused on wildflowers spotted along rural roads in his native Minnesota, these paintings capture the delicate beauty of these native flowers against deep magenta backgrounds. Rangin...

Paul Gattuso attended the Art Students League and worked primarily in New York City. There is an old address with a Bronx, Grand Concourse address on the ...

George Tzannes's Landscape with Olive Tree is a 22 x 24 inches black and white chalk painting on canvas representing a Greek landscape. Olive trees populate the landscape. Tzannes is an American painter of Greek origins. In his twenties he visited Kythera, the Greek island of his father's birth. Since that time, the island has become the major reference of his creativity. The choice of using black and white to represent this landscape gives the mighty hundred-years old olive trees a monumental presence. The viewer is drawn into the timeless, spiritual quality of the Greek landscape. Despite the absence of color, Tzannes' mastery of drawing creates a tangible effect of the Greek light...

This artwork by Robert Risko is offered by CLAMP in New York City. Jodie Foster Signed Mixed media 18 x 13.75 inches (45.7 x 34.9 cm), image

Focused on wildflowers spotted along rural roads in his native Minnesota, these paintings capture the delicate beauty of these native flowers against deep magenta backgrounds. Rangin...

Abstract artwork on paper by a Bulgarian/American artist Iliyan Ivanov. Ivanov continues to treat color in a multilayered approach, introducing a wider palette with brighter and bol...

Paul Gattuso attended the Art Students League and worked primarily in New York City. There is an old address with a Bronx, Grand Concourse address. Gattus...

Jeff Koons Original flower drawing on Rockefeller Center Puppy poster (Hand Signed), 2000 Drawing done in silver marker on offset lithograph Hand signed by Jeff Koons in marker on t...

Katie DeGroot Cocktail Party Vlll (couples), 2023 watercolor on paper 48 x 72 in (groo117)

The Carpet Seller depicts a man in a domed Fez hat as he is approached by three women and a child. Middle eastern architecture floods the scene. The way the pa...

Unknown/Unidentified Artist Signature, "Untitled: Ships at Sea", Landscape/Seascape Pencil Drawing on Paper, 4.50 x 8 (10 x 13.50 Framed), Mid to Late 20th...

Andrei Petrov's Elusive Question is a 15 x 22 inch abstract ink and watercolor drawing on paper. It is a lyric abstraction in green with accents of blue. This precious drawing stands...

Lisa Breslow Central Park Blues 1, 2018 monotype 18 x 44 in. paper size: 24 x 50 in. This original monotype by Lisa Breslow depicts a dreamy cityscape / waterscape in subtle, painte...

Richard Anuszkiewicz Old Door, 1953 Watercolor on paper Signed and dated by the artist on the lower right front 20 × 14 inches Unframed This unique and extre...

Finesse and delicateness are what best characterize Antonin Anzil’s artistic practice. Using a sharp tool to carefully pull the fiber of the paper from the front, the artist gives bi...

Linda Stein, Profile Notation 418.014 - Signed Feminist LGBTQ+ Ink and Graphite on Paper Drawing Profile Notation 418.014 is from Linda Stein's Profiles series--drawings, collages ...

Executed in black, grey and brown, this monumental charcoal and pastel painting conveys the mythic drama and beauty of an active volcano. Rising in the shape of a wide, low cone, the...

Joe Brainard Eucalyptus Leaves/Bolinas, 1971 Collage on thin board (with original labels from Fischbach Gallery, The Denver Art Museum and University...

Charles Burchfield (1893-1967) Untitled (Preparatory Drawing for Skyscape), Early 20th Century Pencil on paper 12 1/4 x 18 3/4 in. Inscribed: blue / white / blue / RV Born in Ashtab...

Nancy Pantirer Untitled Watercolor on paper 28 x 22 inches Part of Nancy Pantirer’s UNDERWATER series Nancy Pantirer’s UNDERWATER series features large watercolor and acrylic piece...

Nancy Pantirer Untitled Watercolor on paper 28 x 22 inches Part of Nancy Pantirer’s UNDERWATER series Nancy Pantirer’s UNDERWATER series features large watercolor and acrylic piece...