Manhattan - Drawings and Watercolor Paintings

George Tzannes's Landscape with Olive Tree is a 21.5 x 28.5 inches black and white monotype representing a Greek landscape. Olive trees populate the landscape. Tzannes is an American painter of Greek origins. In his twenties he visited Kythira, 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 charcoal and acrylic flower drawn from life, taken from the amazing flowers at the Armory Show in NYC that the artist went home with. The renowned art fair is one of the most a...

Jasper Johns Letter ("one either jumps into the water or doesn't"), 1996 Hand signed letter framed on top of a Time Magazine cover depicting a work by the artist Hand signed by Jasper Johns underneath a typewritten letter by his secretary (JJ/st) Frame Included This listing consists of a typewritten letter, hand signed by Jasper Johns in response to one sent by the present addressee. While we do not see the fan's letter that prompted this response from Johns, it's not too difficult to guess, as Jasper Johns replies, stating, in part, "I wish I felt I could advise you but I can't. One either jumps in the water or doesn't. There doesn't seem to be any in-between." No truer words could have been spoken regarding the artist's life. Underneath this letter, is a vintage Time Magazine cover, presumably from the same year, depicting a Jasper Johns Flag...

Jane Wooster Scott (American, b. 1920) Untitled (Cats), 20th century Watercolor on paper Sight size: 10 x 14 in. Framed: 17 x 20 3/4 in. Signed lower left: Wooster In the "Guinness Book of Records" as one of the most reproduced artists in America, Jane Wooster Scott began copying work by folk artists such as Grandma Moses and gradually evolved into her own style. A turning point for her career was a joint showing at the Ankrum Gallery in Los Angeles with her comedian friend, Jonathan Winters. It was mostly a business crowd, and she sold 40 paintings in an hour. Scott grew up in the Philadelphia area and moved West following her dream to be a movie star. She quickly learned that goal was not for her, but became the host of a talk show where she interviewed movie stars. Then she married and quit that work, becoming a full-time mother. Currently (2002) she resides in homes in Los Angeles and Sun Valley...

Larry Rivers French Money, ca. 1966 Original graphite drawing with collage Boldly signed in graphite pencil in the center of this collage. Larry Rivers original, unique drawing with ...

Watercolor Landscape Study of the Palazzo Andrea Doria, Genoa. Antique French architectural study of the plan and gardens of the Doria Palace in Genoa, entitled "Plan du Palais Doria...

Of course it's possible that these baseball players aren't from a Philadelphia team, but I doubt it. There was so much drama and intrigue with both the Philadelphia Phillies...

WILLIAM BAZIOTES Untitled Abstract Expressionist Mid Century Modern ink drawing with Estate COA, ca. 1955 Ink Drawing on Paper Signed lower right recto. Accompanied by letter of aut...

James Nares Untitled flower monotype, 1988 Monotype on hand made paper Pencil signed and dated by James Nares on the lower right front Frame included: floated in the original wood fr...

David Storey Untitled, 1993 Charcoal and pastel 29 x 19 inches (sheet) 30 x 20 inches (frame) Unsigned Natural wood frame with light white wash. Floated in window opening. 1.5'' dep...

Robert Kipniss (American, b. 1931) At Dawn, 1975 Pencil on paper 10 1/2 x 7 1/4 in. Framed: 14 2/3 x 11 1/3 in. Signed upper right: Kipniss '75 Verso bears Hirschl & Adler Galleries Label Robert Kipniss, painter and printmaker, was born in New York City in 1931. He creates essentially monochromatic*, stylized vistas with natural and architectural elements intended to evoke an elegiac, nearly surrealistic mood in haunting, silent landscapes; the melancholy of nostalgia. Trees, in mid and far-distance, form clusters or act as misty individuals containing a haunted, indefinable presence, witnesses to the foreground drama of more specific shape, form and detail, often a close-up tree. Kipniss studied at the Art Students League* in 1947; Wittenberg University in Springfield, Ohio, 1948-50; and the University of Iowa, receiving a BA degree in English literature in 1952, and an MFA in painting and art history in 1954. The artist employs a meticulous technique combining a multiplicity of specific strokes, whether with brush, pencil or print-maker's needle and burin*, to create the essence of his generalized, non-specific forms. Light and darkness are clearly Kipniss' compositionally constructive elements. They also exist as contestants in the emotional drama at the heart of each work of art. The contrast, and sometimes combat, between these two opposites, symbolically represent with blackness -- ideas of threat, fear, trouble, evil; with whiteness safety, redemption, fulfillment and good. In Kipniss' 1995 mezzotint*, Clear Vase and Landscape, with a foreground image of precisely leafy stalks, the vase holding them, nearly invisible in its transparency, suggests an almost Salvador Dali-like surrealist device. This central image dominates but seems to invite association with, and commentary from, the surrounding clumps and individual round-topped, yet cedar-like trees. His mezzzotint, For Stella," 1997, depicts a gently twisting, curving, pale and smoothly-barked foreground, leafless tree limb or trunk, like a female human body, suggesting weakness, fatigue, an inability to deal with the staccato background screen of textured bush that seems to uncomfortably impinge upon it. This print is arguably a metaphor for a delicate soul struggling to overcome the prickly difficulties of domineering life. The classic mezzotint process, invented in the middle of the 17th Century, is the reverse of most of the other print-making media, since the artist works from a black ground to increasingly lighter areas. The copper plate is first roughened by a "rocker," creating a burr over the entire surface (the more burr left intact, the more ink it holds, the darker the final finished print). The artist, Robert Kipniss, in this instance, gradually burnishes, smoothes down the burr in varying degrees to produce the gradations of lights and darks of the final design. The deepest darks in the final picture are those areas on the plate that have been little touched after the initial roughening. Mezzotint relies on shade and tone rather than outline for its effect, which fits the Kipniss style of atmospheric* masses of value. A recent oil painting by Robert Kipniss, Hillside Silhouettes, 2001, 40 x 29, is somewhat more complex in composition than many, with four cubically-constructed houses each set in their own zones, seemingly unrelated to one another, with receding hills and similarly isolated, increasingly misty trees beyond. In his career, Robert Kipniss has had over 40 one-man shows since the first in New York in 1951, including an important retrospective exhibition at the Associated American Artist Gallery, New York in 1977. Many of these one-man exhibitions have been mounted by over 50 museums in the United States, South America and Europe, including the Chicago Art Institute, Metropolitan Museum of Art, Museum of Modem Art, Whitney Museum of American Art, Library of Congress and British Museum in London. Robert Kipniss is represented in the permanent collections of the institutions above, among many others, as well as the Philadelphia Museum of Art; New York Public Library; Museum of Fine Arts, Boston; Detroit Art Institute; Yale University Museum; National Collection of Fine Arts, Smithsonian Institution; Museum of Fine Arts, Houston; Los Angeles County Museum of Art; Portland Art Museum; and the New Orleans Museum of Art. He was elected to the National Academy of Design* in 1980, and to the Royal Society of Painter-Printmakers, London in 1998 Robert Kipniss can be referenced in numerous publications, including Who's Who in American Art from the 1950s to the present, and multiple reviews in periodicals like Art News, Art in America and Art Forum. There are also three important catalogues raisonne published on his work. Robert Kipniss has received many awards: 1965 - Ohio University National Drawing Show, Purchase Prize 1976 - National Academy of Design, New York City, The Ralph Fabri Prize 1978 - The Print Club of Philadelphia, Charles M Lea Prize 1979 - Charlotte Printmakers Society, Purchase Award 1979 - Society of American Graphic Artists, Printmaking Award 1979 - Wittenberg University, Springfield, OH, Honorary Doctorate 1980 - Elected to the National Academy of Design, New York City 1980 - Audubon Artists, New York City, Silver Medal 1980 - National Academy of Design, New York City, The Leo Meissner...

Margot Glass’s rendering of detail demands close attention. Her play with positive and negative space—the almost imperceptible shade of translucence between leaf veins, or the rich p...

Linda Stein, Figures with Horse 986 - Contemporary Art Drawing Collage In 2000, Linda Stein began a series called Knights of Protection. Her Knights...

Kenny Scharf Original drawing on Tony Shafrazi poster, signed and inscribed to Andy Warhol's last boyfriend Jon Gould, 1984 Permanent marker drawing on Kenny Scharf Tony Shafrazi Gallery exhibition poster (hand signed and inscribed by Kenny Scharf) Boldly signed and inscribed to Andy Warhol's last boyfriend Jon Gould Frame included: Framed in a museum quality wood frame with UV plexiglass. Measurements: Frame: 35 x 28.5 x 1.5 inches Print 28.25 x 22 inches Own a piece of Pop Art history! This is a unique drawing hand signed and inscribed by Kenny Scharf, done on a vintage collectible 1984 poster from the legendary Tony Shafrazi Gallery. If you saw "The Andy Warhol Diaries" on Netflix, you'd know about Warhol's relationship with Jon Gould - Andy's last boyfriend; tragically, Warhol would become Gould's last boyfriend as well, when, soon after, Gould would die of AIDS at the young age of 33 Kenny Scharf created an original drawing, done in marker, and inscribed it to Jon Gould (featured prominently in Andy Warhol's Diaries and the eponymous Netflix series) - and it had not been seen since the 1980s. Jon Gould was a New England educated former Vice President of Corporate Communications at Paramount Pictures - a Boston Brahmin whose real claim to fame was as Andy Warhol's last boyfriend. This work was acquired from the widely publicized sale of the collection of Jon Gould - -a treasure trove of valuable gifts and art works by Warhol and others like Kenny Scharf, Basquiat and Keith Haring to Gould - that had not been seen in nearly four decades. This is one of the works from that impressive sale. Below are links to two of the many articles about the collection of Jon Gould in the New York Times, Artnet News and the New York Post respectively. About Kenny Scharf: Kenny Scharf (b. 1958, United States) is a renowned artist affiliated with the 1980’s East Village Art movement in New York. Scharf developed a distinct and uniquely personal artistic style in paintings as well as sculpture, alongside his mentor Andy Warhol, and contemporaries like Jean-Michel Basquiat and Keith Haring with whom he pioneered contemporary street art. References to popular culture reoccur throughout his works, such as appropriated cartoon characters from the Flintstones and Jetsons, as well as imagined anthropomorphic creatures. Through ecstatic compositions and a dazzling color palette, Scharf presents an immersive viewing experience that is both intimate and fresh. Scharf’s multifaceted practice—spanning painting, sculpture, installation work, murals, performance and fashion—reflects his dedication to the creation of dynamic forms of art that deconstruct existing artistic hierarchies, echoing the philosophy of Pop artists. Yet Scharf’s artistic significance expands beyond the art historical terrain of Pop Art; the artist instead coined the term “Pop Surrealist” to describe his one-of-a-kind practice. His inclusion in the 1985 Whitney Biennial marked the start of his international phenomenon, a reputation that continues to thrive today. Courtesy of Almine Rech MORE ABOUT JON GOULD: Warhol wrote extensively on Jon Gould in his diaries. In July, 2022, when the Netflix series "The Andy Warhols Diaries" came out, the New York Post (among many other publications) ran a major feature article on Warhol's relationship with Gould and on this very sale: It reads, "When Harriet Woodsom Gould died in 2016 in her nineties, she left behind a trove of family heirlooms dating back to the 1700s in her Amesbury, Mass., home. Yet in her attic, she had a secret veritable shrine to pop art. There, she had stashed her late son Jon Gould’s belongings for decades since his death in 1986 from AIDS. He had vases painted by Jean-Michel Basquiat, works by Keith Haring and dozens and dozens of gifts — photos, valentines, sketches, letters and more — from pop god Andy Warhol. “My mother kept everything,” Jon’s twin brother, Jay Gould, told The Post. Jay knew his brother “had some type of relationship” with Warhol in the 1980s, though Jon always remained discreet about it. “We were very close, identical twins, but we never talked a lot about his sexuality,” Jay, now 68, explained. “It was a different time.” Yet, he was still stunned to read the poetry and love notes Jon wrote to the older artist. “I didn’t realize the relationship was as deep as it was.” Actually, no one really knew. Gould was Warhol’s last romance, a young Paramount executive with floppy hair and preppy good looks who died tragically at 33. And though Warhol frequently mentioned him in his famed diaries, published posthumously in 1989, the artist’s dashed-off musings gave the impression that Jon was more of a crush than a genuine partner...Gould didn’t so much enter into Warhol’s life as Warhol willed him into it. It was April 1981, and Warhol, then 52, was still reeling from his breakup with Jed Johnson... Jed left that December, and that spring Warhol confessed to feeling lonely: “I’ve got these desperate feelings that nothing means anything. And then I decide that I should try to fall in love, and that’s what I’m doing now with Jon Gould.” Gould was a 26-year-old Paramount exec: a New England WASP with a lithe, strong physique and charismatic personality, who looked straight. Warhol reasoned: “Jon is a good person to be in love with because he has his own career, and I can develop movie ideas with him, you know? And maybe he can even convince Paramount to advertise in Interview, too. Right? So my crush on him will be good for business.” Warhol began courting Gould with a vengeance, sending extravagant bouquets of roses to his office at Paramount. He even offered their mutual friend, the photographer Christopher Makos, a fancy watch if he could get Gould to be his boyfriend. “I guess he never got loved,” Makos says in the series. “Because I didn’t get my watch.” (Jay Gould also tells the camera that his brother had admitted that he was in a relationship but that he said they didn’t have sex.) At first, Gould resisted Warhol’s attention, but eventually the two began spending a lot of time together, though Gould would frequently pull away if things got too intense, and he often would tell Warhol not to write about him in his diary. “I think my brother was concerned about his career at that time,” Jay Gould said. But the younger man attended parties and art events with him, invited the artist skiing with his family in Aspen and even for a time moved into his place on 66th Street. “I love going out with Jon because it’s like being on a real date,” Warhol wrote early in their relationship. “He’s tall and strong and I feel like he can take care of me.” Yet it turned out that Warhol would have to take care of Gould. On Feb. 4, 1984, Jon was admitted to New York Hospital with pneumonia — though it was understood that he had AIDS. Warhol stayed with him in the hospital every night for the 30 days he was there, despite his fear of hospitals since getting shot and his fear of getting AIDS. (Warhol couldn’t bring himself to talk about Gould’s illness in the diary, but his editor notes that when Gould was released March 7, Warhol instructed his housekeepers to wash Jon’s clothes and dishes “separate from mine.”). Around 1985, Warhol began working on his massive series of 100 works based on Da Vinci’s “The Last Supper...

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 ...

Mary M. Johnsen Four Paintings, c. 1950s Watercolor Dimensions: 1. Mat: 18 x 21 1/4 in., page: 8 x 12 1/4 in. 2. Page: 14 7/8 x 22 in. 3. Mat: 15 x 19 in., page: 10 1/2 x 14 1/2 in....

Merchant Abundant A merchant walks through a covered marketplace draped in rugs and holding intricately decorated knives. Signed lower right : Gustavo Simoni Medium: Watercolor ...

Philip Wittmann work is based on signs. Signs are for him an intermediary between abstraction and writing. He started painting 32 years ago, at the age...

Katie DeGroot The Interloper, 2025 watercolor on paper 30 x 23 in. (groo124)

Marilla Palmer Mellow Yellow, 2025 watercolor, sequins, pressed petals, Durabrite prints, stitching on Arches cold press paper 30 x 22 in. (pal254) Marilla Palmer lives and works i...

Winold Reiss (1886-1953), who scholars increasingly recognize as a pivotal figure in early 20th-century American art, is known for his evocative portraits that capture the spirit and...

Yen Ha is an architect, artist and writer. Born in Saigon, she lives in New York City. Ha has been awarded residencies by the Banff Centre for Arts and Creativi...

In 2000, Linda Stein began a series called Knights of Protection. Her Knights functioned both as defenders in battle and symbols of pacifism. In 2019, Stein re-conceived her Kni...

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...

Tipping Point #7 (Abstract drawing) Pigment pencil on Mylar - Unframed. This work is from a series titled Tipping Point. This drawing has been created eyes closed. It captures an a...

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...

Santi Moix Consilience, 2009 Crayon and pencil on paper Signed and dated 2009 in crayon on the front Unique Frame included Provenance: the Artist and Kasmin Gallery This exquisite, u...

Margot Glass's graphite drawing on black heavyweight paper transforms delicate dandelions into luminous, ghost-like forms. Each fine line is meticulously drawn, creating a richly det...

A collage by New York artist Miranda Maher. Made with Ink, Indian marble paper and Japanese Chiyogami paper on handmade Japanese paper. Miranda Maher’s ...

This is a hand painted oil and mixed media artwork on paper by internet sensation mad charcoal professionally He is represented by Krause Gallery NYC the artwork will be rolled and...

Stephen Powers Everything is Shit Except You Love (How We Met is Our Story), with unique drawings, 2017 Original graphite drawings on screen print in four colors on 335 gsm Coventry ...

Olivia Fraser Metamorphosis, 2021-2022 Pigment, Arabic gum & gold leaf on handmade paper 35.25 x 150.25 inches 89.53 x 381.63 cm. OF038 Olivia Fraser (b...

Charles Demuth was one of the most complex, talented, and deeply sensitive artists of the American modern period. Whether he was painting floral still lifes, industrial landscapes, or Turkish bathhouses, art was, for Demuth, fraught with personal meaning. A fixture of the vanguard art scene in New York, Demuth navigated the currents of Modernism, producing some of the most exquisite watercolors and original oil paintings in twentieth-century American art. Demuth was born in Lancaster, Pennsylvania, the only child of a well-to-do family. He had an awkward and introverted childhood shaped by a childhood illness, Perthes, a disease of the hip that not only left him permanently lame, but, as part of the “cure,” bedridden for two years in the care of his mother. This long period of incapacitation had a deep impact on Demuth, who came to see himself as an invalid, an outsider who was different from everyone else. It was perhaps during this period of indoor confinement that his keen interest in art developed. Several relatives on his father’s side had been amateur artists, and, following his convalescence, his mother encouraged his artistic pursuits by sending him to a local painter for instruction. The majority of his early pictures are of flowers, a subject for which Demuth maintained a lifelong passion. Following high school, Demuth enrolled at the Drexel Institute of Art in Philadelphia, a school renowned for its commercial arts program. He advanced through the program rapidly, and, in 1905, at the encouragement of his instructors, he began taking courses at the Pennsylvania Academy of the Fine Arts. The two leading teachers then at the Academy were William Merritt Chase and Thomas Anshutz. Anshutz, himself a former student of Thomas Eakins, was well liked by his students, and is best known as the teacher of Robert Henri, John Sloan, and several of the other artists of the Ashcan School. Demuth, too, adopted a similar idiom, working in a controlled, realistic manner while at the Academy, where he remained until 1910. In 1907, Demuth made his first trip to Europe, staying in Paris. He spent time on the periphery of the art scene composed of the numerous American artists there, including John Marin and Edward Steichen. He returned to Philadelphia five months later, and immediately resumed courses at the Academy. Despite his introduction to advanced modern styles in Europe, Demuth’s work of this period retains the academic style he practiced before the trip. It wasn’t until he had summered at New Hope, Pennsylvania, in 1908 and 1911, that his style began to evolve. New Hope was a prominent American Impressionist art colony whose members were largely affiliated with the Pennsylvania Academy. Demuth dropped the conservative tone of his style and adopted a freer and more colorful palette. Although he remained based in Philadelphia, Demuth frequently went to New York during this period. Many of the same American artists of the Parisian art scene Demuth had encountered on his earlier European trip now formed the nucleus of New York’s avant-garde, which centered around Alfred Stieglitz’s 291 gallery. It wasn’t long before Demuth began to apply modernist-inspired strategies to his work. He was particularly influenced by the watercolor work of John Marin, also a former student of Anshutz, whose bold use of color in the medium Demuth freely adapted into looser washes of color. In 1912, Demuth again left for Paris, this time studying in the Académie Moderne, Académie Colorossi, and Académie Julian. In Paris Demuth met the American modernist Marsden Hartley. Hartley, a principal figure in the expatriate art circle, acted as a mentor to Demuth, and introduced him to the wide array of modern styles currently practiced in Europe. Hartley also introduced Demuth to many of the members of the Parisian avant-garde, including Gertrude Stein. Demuth was an aspiring writer, and he spent many hours in conversation with Stein. He wrote extensively during this period, and published two works shortly after his return to America. He also developed an interest in illustrating scenes from literary texts. From 1914 to 1919, Demuth produced a series of watercolors of scenes from books such as Emile Zola’s Nana and Henry James’s The Turn of the Screw. Upon his return to America, Demuth settled in New York. In 1914, Demuth had his first one-man show at Charles Daniel’s gallery, which promoted emerging modern American artists, including Man Ray, Rockwell Kent, Yasuo Kuniyoshi, Stuart Davis, and Max Weber. Demuth drew closer to the artistic vanguard in New York, becoming friends with many in the Stieglitz and Daniel circles, including Georgia O’Keeffe, Marcel Duchamp, Carl Van Vechten, and Edward Fiske. New York’s cosmopolitan atmosphere and active nightlife appealed greatly to Demuth. In a sketchy style well suited to watercolor, he painted many vaudeville and circus themes, as well as nightclub, café, and bathhouse scenes. Often with Duchamp, Demuth took part in an urban subculture replete with nightclubs, bars, drugs, and sexual permissiveness, which, for a homosexual artist like himself, allowed room for previously unattainable personal expression. Demuth’s pictures of sailors, bathhouses, and circus performers embody a sensual and sexual undercurrent, expressing the artist’s sense of comfort and belonging in the bohemian subculture of New York. Simultaneously, Demuth deepened his interest in floral pictures, painting these almost exclusively in watercolor. His style evolved from the broad color washes of his earlier pictures to more spare, flattened, and sinuous compositions, inspired by the drawings of Aubrey Beardsley and other artists of the Aesthetic Movement. Demuth’s flower watercolors are moody and atmospheric, sensuous and elegant, introspective and yet full of expressive power. Moreover they are beautiful, and are unequivocally among the finest still lifes in American art. Despite numerous subsequent artistic undertakings that led him in a variety of directions, Demuth never stopped painting flower pictures, ultimately adding fruits and other still-life objects to his repertoire. In 1916, Demuth began to develop a style later known as Precisionism, a form of landscape painting infused with Cubism, in which space is divided into precisely drawn geometric regions of color. Demuth first began to paint the landscape in an appropriated Cubist mode while on a trip with Hartley to Bermuda. In these early landscapes, in which the curvilinear forms of trees intersect the geometrically articulated architectural forms, Demuth explored ideas that shaped the future development of modernism in America. The full realization of Demuth’s explorations came after his return to America in 1917, when he turned his attention to industrial subjects. These works derive from a “machine aesthetic,” espoused by New York artists such as Francis Picabia, Joseph Stella, Albert Gleizes, and Duchamp, by which artists viewed machines as embodying mystical, almost religious significance as symbols of the modern world. Rather than painting the skyscrapers and bridges of New York as did most of his like-minded contemporaries, Demuth returned to his home town of Lancaster, where he painted factories and warehouses in a Precisionist idiom. The titles for these pictures are often contain literary references, which serve as clues for the viewer to aid in the decoding of the artist’s meaning. In 1923, Demuth planned a series of abstract “poster portraits” of his friends and contemporaries in the New York art and literary scene. In these “portraits,” Demuth combined text and symbolic elements to evoke the essential nature of his sitters’ distinguishing characteristics. In this fashion, he painted portraits of such artists as Georgia O’Keeffe, John Marin, and Arthur Dove. His most famous poster portrait, I Saw the Figure 5 in Gold...

Marilla Palmer Kissing the Stamen, 2025 watercolor, sequins, pressed petals, Durabrite prints, stitching on Arches cold press paper 30 x 22 in. (pal255) Marilla Palmer lives and wo...

Walasse Ting 丁雄泉 CAT (original drawing), 1985 Original Ink and Marker on offset lithograph held in hardback monograph Hand signed and inscribed by the artist This is an absolutely gorgeous drawing of a cat by the pioneering Chinese-American-European artist Walasse Ting, who famously collaborated with Sam Francis and many other Ab Ex, Pop and COBRA artists. (He was the brainchild behind the legendary One Cent Life portfolio). Ting was also, famously, a cat lover, and is renowned for his expressive, colorful and gorgeous drawings of cats...

Josette Urso "Sea Stars" Water Color on Paper

Roberta Allen German Lesson, 1981 Two separate mixed media works framed together: watercolor, gouache, ink, wash, laid paper collage (each signed by hand) Signed twice: each of the s...

“Four Dandelions” is an exquisite graphite drawing on black paper by contemporary artist Margot Glass, known for her meticulous botanical renderings. This artwork captures a cluster ...

Singed (at lower left): Jane Peterson

Stanley Boxer Bathers, 1967 Mixed Media watercolor & ink wash drawing Hand signed by the artist on lower right hand corner on the front 8 1/2 × 11 1/4 inches Unframed This is a uniqu...

Katie DeGroot So Natural, 2025 watercolor on paper 40 x 25 in. (groo126)

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

Apparently Bendiner never went a day without drawing. He was amazing! From Bendiner's Philadelphia the New Jersey beaches were an easy drive. Avalon is st...

Grisha Bruskin Study 8, 1990 Ink and Gouache on paper Hand signed and inscribed by the artist on the front Original vintage frame with Marlborough Gallery label included This work is...

Shiva Asilah is a watercolor painting on paper by Italian artist Lucio Pozzi. The paper is signed by the artist himself, and the work is currently housed at Hal Bromm Gallery.

Ron Gorchov Untitled, inscribed to Robert Vogele, 1978 Watercolor and etching on paper with 2 deckled edges. Hand signed in pencil and inscribed on lower front. Inscription reads as ...

"Edge of the Galaxy" watercolor on paper 16"x20" signed on reverse This is a beautifully painted, highly detailed depiction of a view from the edge of the Galaxy. Warm whites in th...

Linda Stein, Three Figures, Three Houses 1002 - Contemporary 3D Sculptural Drawing Collage In 2000, Linda Stein began a series called Knights of Protection. Her Knights functioned...

Kenneth Noland Untitled, 1987 Monotype with hand painting on wove paper Hand signed and dated with artist's copyright in pencil on the back; also with the blind stamp/chop mark lower...

Katie DeGroot Nope, 2025 watercolor on paper 40 x 26 in. (groo125)

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 ...

Mary Abbott (1921-2019) Untitled, 2005 Oil and watercolor on paper Artwork: 5 x 7 in. l 13 x 18 cm Framed: 10 x 12 in. l 25 x 30 cm Signed lower right Exposition: '9 Women, 20th Cen...

Mary Abbott (1921-2019) Untitled, 2005 Oil and watercolor on paper Artwork: 5 x 7 in. l 13 x 18 cm Framed: 10 x 12 in. l 25 x 30 cm Signed lower right Exposition: '9 Women, 20th Cen...

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...

Artist David Morrison creates hyperrealistic, finely detailed pencil drawings of found natural objects, both by observing the object itself under magnification, and also by working f...

Carl Ashby, Pensive Lady, 1942, ink and watercolor, retains fresh, clear color. A native of New Mexico, Carl Ashby (1914-2004) moved to New York City in 1938 following a stint with ...

Marilla Palmer Ecstasy of the Sun, 2025 watercolor, gold leaf, embroidery, millinery foliage, pressed flowers, Durabright prints on Arches paper 29.5 x 41 in. (pal256) Marilla Palm...

Margot Glass's graphite drawing on black heavyweight paper transforms delicate dandelions into luminous, ghost-like forms. Each fine line is meticulously drawn, creating a richly det...

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...

Marilla Palmer Euphoria, 2025 watercolor, gold leaf, pressed flowers, sequins, holographic vinyl, Durabrite prints, mushroom spores, millinery velvet, stitching on Arches cold press ...