Manhattan - Drawings and Watercolor Paintings

Emma's artwork is inspired by the Parisian luxury world of fashion, textures and colour. This beautifully layered blue and teal tone artwork titled "Superposition 06" works well on i...

This new series of painting is an exciting transition for Kinney as he is best known for assemblage and sculpture. “Anim”, the Latin root word of animal, means life, soul or breath. ...

This drawing by James Childs is offered by CLAMP in New York City. Antonopoulos Apostolos 2004 Signed and titled, recto Graphite on paper 12 x 8.25 inches.

This drawing by James Childs is offered by CLAMP in New York City.

Wheeler Williams (American, 1897-1972) Study for Dawn, 1947 Pencil on paper 9 1/4 x 12 1/4 in. Signed lower right: Wheeler Williams, 1947 Inscribed: Study fo Dawn [illegible] "Dawn & Twilight" A native of Chicago, Wheeler Williams is known for his allegorical, narrative work including "Tablets to Pioneers" on the Michigan Avenue bridge in Chicago, and "Settlers of the Seaboard" in Fairmount Park in Philadelphia. He graduated with honors...

Graphite on paper Dated in pencil, l.r. Numbered 257 in pencil, verso This artwork is offered by ClampArt, located in New York City. John Button (1929-1982) was a fine draftsman an...

David Humphrey Untitled, 2015 Acrylic on paper Hand signed and dated 2015 on the lower left front 11 × 8 1/2 inches Unframed This original painting was created by David Humphrey in 2...

Sam Gilliam Untitled Abstract Expressionist mixed media painting, Ex-Museum of Modern Art Collection, 1968 Watercolor and Aluminum Paint on Fiberglass Paper. (Framed with Museum of M...

"Sculpture Model" Abstract American Drawing Modernism Mid 20th Century Cubism Charles Biederman (American, 1906-2004) Sculpture Model Ink and gouache on Arches paper Sight: 18 x 1...

Linda Stein, Courante 418.030 - Signed Feminist LGBTQ+ Colorful Ink, Color Pencil, and Graphite on Paper Drawing Courante 418.030 is from Linda Stein's Profiles Notation series--d...

This gouache painting by Werner Drewes was created in 1942. Signed with a pen in the lower right. Cypher and date are just under the signature. Painted to the papers edge - the pap...

In her realist gouache on paper animal miniature, "Green Bird," 2018, Dina Brodsky captures and highlights the full chromatic range of the bird's plumage. The fine detail of the bird...

Between September 2018 and April 2019, I created 100 small paintings consecutively. I endeavored to make nothing else and viewed the project as an opportunity to experiment and solid...

This new series of painting is an exciting transition for Kinney as he is best known for assemblage and sculpture. “Anim”, the Latin root word of animal, means life, soul or breath. This exhibition features select large-format monochromatic oil paintings on stretched canvas and wood panels. On view as well are works on paper with Japanese Sumi Ink, which inspired the oil paintings. Kinney has been looking at pre-historic cave paintings as well as animals depicted therein, such as the Chauvet caves in Nice, Southern France. Emerging from the inextricable interplay of light and dark, Kinney’s black and white ink paintings capture the ever-shifting subjectivity shaped by shadow. Cast in Japanese Sumi ink, each unique painting explores the trajectories of human and animal, natural and architectural form- what is revealed or hidden? A variety of hand-torn, heavy weight papers add textural dimension to each mark and brush stroke, as well as through the immediacy of brushstrokes to depict the action within the artwork In his latest collection of works, Kinney explores animal form and meaning as seen in both contemporary and ancient times. In “Savanna (Zebras) ”, a stampede of zebras is depicted through oil paint on wood panel. Animal populations in regions like the horn of Africa today face the loss of their natural habitats due to extreme draught. He explores the deep imprint they leave behind and the interconnectedness of humans and animals in the world. With the balance of nature at stake, Kinney’s paintings underscore the importance of the relationship between the natural environment and civilization. Matt Kinney...

Study for “David and Goliath” Crayon on paper 11.25 x 10 inches (28.6 x 25.4 cm) $2,800 This work is offered by ClampArt in New York City.

Reginald Marsh, 1898 – 1954 Monseigneur News Theatre, 1925 Signed and dated at lower right: 'Reginald Marsh 1925' Watercolor on card 8 x 11 inches Born in Paris to parents who were American artists, Reginald Marsh became an adept illustrator at an early age. His family returned to the United States in 1900. Upon graduating from Yale University, Marsh moved to New York and in 1922 took a job as an illustrator at the New York Daily News. For the paper he provided cartoons of vaudeville and burlesque shows. In 1925 Marsh went to work for a new magazine -- The New Yorker -- as one of its original cartoonists. That same year he married Betty Burroughs, daughter of the paintings curator at the Metropolitan Museum of Art. Later that year they traveled to Europe where Marsh discovered the work of the old masters at the Louvre in Paris and British museums. With a sketchbook always on hand, he wandered the streets of Europe and began depicting bums or what he called figures of failure. Upon the couple’s return, Marsh, now with a serious interest in pursuing art, enrolled at the Art Students League where he studied under George Luks, John Sloan, and Kenneth Hayes Miller. This work, Monseigneur News Theatre, is accompanied by a letter from Marsh Scholar Professor Norman Sasowsky, University of Delaware...

Barbara Regina Dietzsch, 1706-1783 White Primrose, Japanese Quince, a Beetle, and a Butterfly, ca. 1730 Opaque watercolor painting inscribed on...

David Novros (American, b. 1941) Untitled (Home Savings Study), 1986 Watercolor on paper Framed: 35 1/4 x 86 3/4 x 1 3/4 in. Each panel: 30 x 42 in. From Los Angeles and working fro...

This work features a photographic portrait of Helen Frankenthaler, taken by renowned musician and photographer Jim Arkatov, founder of the Los Angeles Chamber Orchester, and author of the 1998 book "The Creative Personality". The photograph is hand signed and dated '92 by Jim Arkatov. Framed alongside the photograph is a typed letter, hand signed in marker with a personal annotation ("Thanks again!!") by Helen Frankenthaler, thanking Mr. Arkatov for sending her glossy prints of his photograph and stating that she looks forward to seeing his book. Arkatov's original signed portrait, along with Frankenthaler's original signed letter, are elegantly framed in a museum quality wood frame under UV plexiglass. There is also a die-cut window in the back of the frame to reveal Arkatov's signature on the back of his photograph. Measurements: Framed 14.25 inches (vertical) by 19.75 inches (horizontal) by 1.75 inches (depth) Photographic portrait of Helen Frankenthaler: 9.25 inches (vertical) by 7.25 inches (horizontal) Letter from Frankenthaler to Arkatov: 7 inches (vertical) by 6.25 inches (horizontal) This collection was acquired from the Estate of Jim Arkatov. Below is an excerpt from his 2019 obituary in the Los Angeles Times: "...His was an immigrant’s story, a child from Russia who landed in San Francisco, befriended violinist Isaac Stern — whose fame was still to come — took up the cello and decided to pour his life into making music. James Arkatov found work with the Pittsburgh Symphony Orchestra and then with the philharmonic in San Francisco before coming to L.A. as a Hollywood studio musician who worked on movie soundtracks and backed up Ella Fitzgerald on some of her more memorable recordings, such as “Ella Fitzgerald Sings the George and Ira Gershwin Song Books.” Amazed at the dazzling talent around him in Hollywood, he came up with a simple but lasting idea — form their own orchestra. The Los Angeles Chamber Orchestra made its debut on an April evening in 1968, as hundreds squeezed into the newly built Mark Taper Forum. Arkatov played cello as usual as the ensemble drifted through the works of Mozart, Vivaldi, Haydn and other legends of the classics who’d written music specially for smaller orchestras. Arkatov, who lived long enough to see the orchestra celebrate its 50th anniversary, died Saturday at his home in Los Angeles. He was 98. “The orchestra represented a contextualized part of L.A. that had simply never been captured,” said his son, Alan Arkatov, the chair of the education and technology program at USC’s Rossier School of Education. “L.A. simply didn’t have this type of ensemble.” Arkatov was born in Odessa, Russia, on July 17, 1920, and moved around Europe before sailing with his family to San Francisco, where his father opened a photo studio. One of his early childhood friends was Stern, who would become an international star who performed on the world’s biggest stages. Arkatov, who began playing the cello when he was 9, formed a string quartet with Stern when they were teens. After stints as a cellist in San Francisco, Pittsburgh and Indianapolis, Arkatov became a member of the NBC Orchestra, the studio musicians who supplied the soundtracks for the movies that kept Hollywood humming. Pulling from the talent of Hollywood like an NFL team on draft day, he cobbled together a roster capable of handling the delicate and nuanced music written for chamber orchestras. In contrast to the L.A. Phil, which filled the stage with 100 or so musicians, the chamber orchestra was but half that size. The idea was to create a group that would play works written expressly for such an orchestra, many of them from the Baroque era. “The ensemble was never meant to compete with the Philharmonic,” Arkatov’s son said...." Helen Frankenthaler Biography: Helen Frankenthaler (1928-2011), whose career spanned six decades, has long been recognized as one of the great American artists of the twentieth century. She was eminent among the second generation of postwar American abstract painters and is widely credited for playing a pivotal role in the transition from Abstract Expressionism to Color Field painting. Through her invention of the soak-stain technique, she expanded the possibilities of abstract painting, while at times referencing figuration and landscape in unique ways. She produced a body of work whose impact on contemporary art has been profound and continues to grow. Frankenthaler was born on December 12, 1928, and raised in New York City. She attended the Dalton School, where she received her earliest art instruction from Rufino Tamayo. In 1949 she graduated from Bennington College, Vermont, where she was a student of Paul Feeley. She later studied briefly with Hans Hofmann. Frankenthaler’s professional exhibition career began in 1950, when Adolph Gottlieb selected her painting Beach (1950) for inclusion in the exhibition titled Fifteen Unknowns: Selected by Artists of the Kootz Gallery. Her first solo exhibition was presented in 1951, at New York’s Tibor de Nagy Gallery, and that year she was also included in the landmark exhibition 9th St. Exhibition of Paintings and Sculpture. In 1952 Frankenthaler created Mountains and Sea, a breakthrough painting of American abstraction for which she poured thinned paint directly onto raw, unprimed canvas laid on the studio floor, working from all sides to create floating fields of translucent color. Mountains and Sea was immediately influential for the artists who formed the Color Field school of painting, notable among them Morris Louis and Kenneth Noland. As early as 1959, Frankenthaler began to be a regular presence in major international exhibitions. She won first prize at the Premiere Biennale de Paris that year, and in 1966 she represented the United States in the 33rd Venice Biennale, alongside Ellsworth Kelly, Roy Lichtenstein, and Jules Olitski. She had her first major museum exhibition in 1960, at New York’s Jewish Museum, and her second, in 1969, at the Whitney Museum of American Art, followed by an international tour. Frankenthaler experimented tirelessly throughout her long career. In addition to producing unique paintings on canvas and paper, she worked in a wide range of media, including ceramics, sculpture, tapestry, and especially printmaking. Hers was a significant voice in the mid-century “print renaissance” among American abstract painters, and she is particularly renowned for her woodcuts. She continued working productively through the opening years of this century. Frankenthaler’s distinguished, prolific career has been the subject of numerous monographic museum exhibitions. The Jewish Museum and Whitney Museum shows were succeeded by a major retrospective initiated by the Modern Art Museum of Fort Worth that traveled to The Museum of Modern Art, New York, the Los Angeles County Museum of Art, and the Detroit Institute of Arts, MI (1989); and those devoted to works on paper and prints organized by the National Gallery of Art, Washington, D.C. (1993), among others. Select recent important exhibitions have included Painted on 21st Street: Helen Frankenthaler from 1950 to 1959 (Gagosian, NY, 2013); Making Painting: Helen Frankenthaler and JMW Turner (Turner Contemporary, Margate, UK, 2014); Giving Up One’s Mark: Helen Frankenthaler in the 1960s and 1970s (Albright-Knox Art Gallery, Buffalo, NY, 2014–15); Pretty Raw: After and Around Helen Frankenthaler (Rose Art Museum, Brandeis University, Waltham, MA, 2015); As in Nature: Helen Frankenthaler, Paintings and No Rules: Helen Frankenthaler Woodcuts...

Linda Stein, Profile Notation 418.024 - Signed Feminist LGBTQ+ Colorful Ink, Color Pencil, and Graphite on Paper Drawing Profile Notation 418.024 is from Linda Stein's Profiles ser...

Waves 1913 Inscribed in ink and pencil, recto; Extensive notes in pencil, verso Watercolor and graphite on cream wove paper 3.5 x 5.5 inches This work is offered by ClampArt in N...

Jon Reading Color pastels on paper 25 x 18 inches (63.5 x 45.7 cm) This work is offered by CLAMP in New York City.

This is a hand drawn original artwork on heavyweight paper by internet sensation mad charcoal He is represented by Krause Gallery NYC Ships rolled in a ...

Julian Schnabel Hand Painted Leather Jacket 1991: Julian Schnabel hand-painted this timeless, vintage leather motorcycle jacket in ...

Martin Wong, Jan Rowen, 1976: Included in the Martin Wong Catalog Raisonne, this 1970s Wong drawing features the artist’s friend, Jan Rowen captured intimately. A poignant insight in...

Painter Crouching on a Chair Conté crayon on paper 15 x 10 inches (38.1 x 25.4 cm) This work is offered by ClampArt in New York City.

Graphite on paper Signed and dated in pencil, l.r. Numbered 103 in pencil, u.r., verso Numbered 1 in pencil, u.l., verso This artwork is offered by ClampArt, located in New York Cit...

Richard Prince Untitled (de Kooning), 2008 Collage with color offset lithograph, hand-cutting, hand-painting and assemblage with extensive additions in graphite mounted on on inset b...

Two Watercolors of a Bird and Panda Watercolor on paper 4 7/8 x 7 in. 11 x 14 in. Signed, dated, and stamped with artist insignia

Anne-Charlotte Saliba's artistic universe is largely inspired by nature, its abyssal dimension as well as its vegetal or mineral forms. Her sculpted artworks are a confrontation of s...

Self Portrait in Front of Easel Graphite on paper 4 x 9 inches (10.2 x 22.9 cm) $1,525 This work is offered by ClampArt in New York City.

Graphite on paper Dated, l.r. This artwork is offered by ClampArt, located in New York City. John Button (1929-1982) was a fine draftsman and drew from life models throughout his c...

Black felt marker on paper with six bullet holes Signed, titled, and dated, recto This artwork is offered by ClampArt, located in New York City. Willam Seward Burroughs (1914-1997)...

Pencil drawing on paper from 1944. Signed and dated with cypher. Paper size 4 x 6" (10 x 15.1 cm). Werner Drewes (1899-1985), painter, printmaker, educator and lecturer, was...

Charles Burchfield, 1893-1967 Wallpaper Design No.2, 1922-28 Watercolor and gouache on paper

Study for “David and Goliath” Graphite and black ink on paper 8.5 x 11 inches (21.6 x 27.9 cm) This work is offered by ClampArt in New York City.

This unique work of ink on paper is framed in a black frame with Anti Reflective glass. It is currently on exhibition at the Hearst foundation building in Manhattan as part of the Ar...

Linda Stein, Profile Notation 418.022 - Signed Feminist LGBTQ+ Colorful Ink, Color Pencil, and Graphite on Paper Drawing Profile Notation 418.022 is from Linda Stein's Profiles ser...

Dana Piazza's creates abstract black and white and colorful drawings, full of the illusion of depth, movement, and three-dimensionality. His highly obsessive ink drawings on paper ar...

Wolf Kahn Ocean Cove, 1996 Pastel on paper painting Hand signed and dated by Wolf Kahn on the lower right Frame included: matted and framed in a wood frame with UV plexiglass This u...

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...

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...

William Zorach, 1887-1966 Redwoods, Yosemite Valley, 1920 Watercolor and pencil 15 ¾ x 13 ⅜ inches Signed (at lower right): William Zorach WZorach-7 Provenance: Estate of William Zorach Exhibited: William Zorach, 1887-1996, Sculpture, Drawings and Watercolors, Zabriskie Gallery, New York; Feb. 10 – March 14, 1998. William Zorach was born in Lithuania in 1889, and immigrated to the United States with his family in 1893. Settling in Cleveland with his parents, he worked as a lithographer from 1902- 1908, making enough money to study painting with Henry G. Keller at the School of Art. In 1910, Zorach traveled to Paris to study in La Palette, where he was encouraged to develop his own unique style rather than adhere to traditional teachings. Zorach once said, “I began to be conscious of the various modern influences that were invading the art world…I was disturbed and confused, and yet I felt that I was a very young man entering a new age. The forces creating modern art seemed more alive to me than anything I had known or anything being done in America.” 1 Together with his wife Marguerite, William Zorach produced a number of Cubist- style paintings for the American Armory Show of 1913, and the Forum Exhibition in New York in 1916. Around 1917, Zorach followed the lead of cubist artist Pablo Picasso and began experimenting with wood and stone carvings. By 1922, he devoted himself entirely to sculpture, and like Picasso, became fascinated in “primitive art”—the ritual objects and sculpture pieces of Oceanic, Native American and African tribes. Zorach’s work developed in its use of block-like forms with progressive suppression of detail—drawing elements from sources as disparate as the contemporary cubist and modernist movements, and combining them with forms seen in early African sculpture. Though the forms of his sculpture were often abstract, Zorach primarily focused upon a traditional subject matter, producing such well-known sculptures as Young Girl, now in the Whitney Museum of American Art, and Mother and Child, in the collection of the Metropolitan Museum of Art. Today, William Zorach is known as one of the earliest and most influential American artists dedicated to direct carving. Zorach also made an impression as a teacher and writer, facilitating a major change in the aesthetic philosophy and technique of sculpture in the United States. During the summers from 1913 to 1922, Zorach and his wife Marguerite painted...

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 New York City. ...

Robert Indiana Illustrated To-Do List (Hand Signed by Robert Indiana) Black and green marker on paper, signed in graphite pencil verso A unique one of a kind piece for any true colle...

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

Albert Marquet Boat in Tunisia, ca. 1920 Ink on paper 7 1/5 × 5 in 18.2 × 12.8 cm Hand-signed by the monogram lower right

Adjacent 6 (Abstract drawing) Pencil and paint stick on paper. This piece is one of a group of works on paper made with paint sticks and pencil on paper that has been primed with g...

CHEZ SAGOT EXPOSITION CH. MAURIN 39 BIS RUE DE CHATEAUDUN. Signed pencil drawing with the artist's owl head' stamp circa 1899. Paper size 9 7/8 x 12 3/4" (25 x 32.6 cm). This orig...

"King & I" Orig 1951 Broadway Drawing Published NYT Tony Awards Mid 20th Century Al Hirschfeld (1903 – 2003) "The King and I," 14 3/4 x 30 inches. Ink on board. Signed lower right. ...

Literature: Alfonso Panzetta, Jared French by Jared French: 600 Unpublished Works from the Artist's Italian Years (Turin, Italy: Umberto Allemandi & C., 20...

Literature: Alfonso Panzetta, Jared French by Jared French: 600 Unpublished Works from the Artist's Italian Years (Turin, Italy: Umberto Allemandi & C., 2010), no. 31, p. 60, illus. ...

"Singularity" by Halsey Chait India Ink on 250 GSM Lenox 100 Cotton Rag Paper Halsey Chait's drawings develop according to the rules and mathematics that govern the growth processes...

"Bathers" American Scene Social Realism 20th Century Modernism Ashcan Fauvism Charles Demuth (1883-1935) "Bathers" 10 1/2 x 8 1/4 inches watercolor on paper, c. 1930 Signed lower le...

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...

Spray paint, pencil, ink, watercolor on paper. Unframed. Peter Soriano works on relatively large sheets of Japanese paper with a tendency to work from something observed, ideally ar...

Linda Stein, Profile Notation 418.023 - Signed Feminist LGBTQ+ Colorful Ink, Color Pencil, and Graphite on Paper Drawing Profile Notation 418.023 is from Linda Stein's Profiles ser...

Male Nude II (2008) by artist Christian Brechneff, featured in "The Queer Show, Part I" at Hal Bromm Gallery

Mary Reilly’s laborious method of toning her paper serves as the starting point for her intricate compositions. She begins by covering the entire sheet with up to eight smooth, unmod...

Ann Miller in Follies Broadway Musical Contemporary Drawing Illustration Eloise Ann Miller in Stephen Sondheim's "Follies." The 1998 production, played at the Papermill Playhouse. Affixed to the back of the drawing is a brochure promoting the show. Mixed media on paper. Signed lower left. Inscribed lower right: "Ann Miller at 75 'I'm Still Here' in Stephen Sondheim's 'Follies' 1998." Framed. 17 x 12 in. (sight). 22 1/2 x 17 1/2 in. (frame) 'Tops in Taps' Ann Miller was still going strong at 75 years old when she made her last appearance in the musical, "Follies." She was one of M.G.M's most prolific dancers and considered by many to be the greatest female tap dancer of all time. Hilary, a friend of many years, is still going strong at 96. We saw this production at the Papermill Playhouse. Years ago, I was a press agent working in Henry Luhrman's office where we represented "Sugar Babies" with Ann Miller and Mickey Rooney. Bio Hilary Knight (born November 1, 1926) is an American writer-artist who is the illustrator of more than 50 books and the author of nine books. He is best known as the illustrator of Kay Thompson's Eloise (1955) and others in the Eloise series. Knight has illustrated for a wide variety of clients, creating artwork for magazines, children's fashion advertisements, greeting cards, record albums and posters for Broadway musicals, including Gypsy, Irene, Half A Sixpence, Hallelujah Baby! and No, No Nanette. The son of artist-writers Clayton Knight...