Miami - Drawings and Watercolor Paintings

Hungarian/American artist/illustrator depicts a charming scene of sledding in the snow in Central Park. The work is abstract in its design as it's functional in its narrative - Unpublished New Yorker...

African American Artist Vincent D Smith makes a statement about racial justice. In this work from 1972, he depicts three African American prisoners with their faces pushed up agains...

Pioneering female abstract artist Elsie Driggs paints stylized abstract organic forms in a warm palette of orange browns and tope. She merges abstraction with some figuration. A structured face composed of lines and tone emerges from an orange background. It's 1939, and even though Driggs is not well known, she is preceding many of the marquee names of abstraction by a decade. Although under the radar, this is a major work and is titled on the back stretcher is " Egyptian Gothic." It features the artist's inventiveness with her fine pencil lines incorporated in flat washes of color and collage elements. Signed lower right and inscribed on frame verso with title, artist and the date of 1939. Provenance, Christie's, Freemans. Framed under glass.. Elsie Driggs (1898 – July 12, 1992 in New York City) was an American painter known for her contributions to Precisionism, America's one indigenous modern-art movement before Abstract Expressionism, and for her later floral and figurative watercolors, pastels, and oils. She was the only female participant in the Precisionist movement, which in the 1920s and 1930s took a Cubist-inspired approach to painting the skyscrapers and factories that had come to define the new American landscape. Her works are in the collection of the Whitney Museum of American Art, the Houston Museum of the Fine Arts, the Fine Arts Museums of San Francisco, the James A. Michener Art Museum in Pennsylvania, and the Columbus Museum of Art, among others. She was married to the American abstract artist Lee Gatch. Career Born in Hartford, Connecticut, Driggs grew up in New Rochelle, a suburb of New York City, in a family that was supportive of her artistic interests. After a summer spent painting with her sister in New Mexico in her late teens, she felt she had found her life's calling. At twenty, she enrolled in classes at the Art Students League of New York, where she studied under George Luks and Maurice Sterne, both of whom were charismatic, inspirational figures in her early life. She also attended the evening criticism classes held at the home of painter John Sloan. Driggs spent fourteen months in Europe from late 1922 to early 1924, drawing and studying Italian art. There she met Leo Stein, first in Paris and later in Florence, who became an important intellectual influence, and who urged her to study Cézanne. He also introduced her to the works of Piero della Francesca, the Renaissance artist for whom she felt throughout her life the greatest admiration.[1] Driggs eventually settled in New York City, where she found representation with the progressive Charles Daniel Gallery.[2] (Advised that the old-fashioned and misogynistic Daniel would be unlikely to take on a woman artist, she signed the works she left for his consideration simply "Driggs" and waited to meet him in person until he had expressed his eagerness to include her in his gallery.)[3] In sympathy with those artists Daniel represented who were part of the burgeoning Precisionist movement, such as Charles Demuth, Charles Sheeler, George Ault, Niles Spencer, and Preston Dickinson, she too painted "the modern landscape of factories, bridges, and skyscrapers with geometric precision and almost abstract spareness."Impressionism and academic or Ashcan realism represented the past, in Driggs' view, and she intended to be resolutely modern. She was an attractive and engaging woman, but her demeanor belied a strong ambition and a clear sense of what it would take to make her mark in the New York art world. Driggs was part of the pre-eminent first group of Precisionist painters, including Demuth and Sheeler, who exhibited at the Daniel Gallery in the 1920s. Although a later group of Precisionist painters, including Louis Lozowick, Ralston Crawford and others, came on the American Art scene during the 1930s, Driggs felt that the style came to an end with the 1929 stock market crash.[5] In 1926 she painted her most famous work, Pittsburgh, a dark and brooding picture now in the permanent collection of the Whitney Museum of American Art, which depicts the gargantuan smokestacks of the Jones & Laughlin steel mills in Pittsburgh. Its focus is an overpowering mass of black and gray smokestacks, thick piping, and crisscrossing wires with only clouds of smoke to relieve the severity of the image, yet it was an image in which she found an ironic beauty. She called the picture "my El Greco" and expressed surprise that viewers in later years interpreted the painting as a work of social criticism. Like the other Precisionists (e.g., Demuth, Charles Sheeler, Louis Lozowick, Stefan Hirsch), she was concerned with applying modernist techniques to renderings of the new industrial and urban landscape, not in commenting on potential dangers the overly mechanized modern world of 1920s America might present. If anything, Precisionism, like Futurism, was a celebration of man-made energy and technology. One year later, she painted Blast Furnaces, in a similar vein. As noted above, Piero della Francesca's mural depicting "The Story of the True Cross" in Arezzo, with its tubular, static and frozen forms was the major influence on Driggs' "Pittsburgh" (it may have been the major influence for "Blast Furnaces" as well).[7] After Pittsburgh, Driggs' most acclaimed work was probably Queensborough Bridge...

"Mademoiselle X" story illustration for Vogue February 1, 1934, watercolor and ink, reverse signed in pencil "Benito for Madame X," pencil inscription "Feb.1, 1934 / Page 51 / 316," ...

Fashion Illustration for High Fashion Magazine . Impeccably rendered with quick flat brush strokes in glorious pastel colors , Signed lower right Ant...

A child looks on with glee as his "Muscular Heroes of the Cosmos" Toys transform from inanimate objects to real, actionable beings and beat up his father. Signed upper right, Gahan...

Milton Glaser creates a brilliant graphic symbolizing a pathway to success and more. Original art Cut Paper collage and colored pencil 19 1/2 x 13 5/8 Signed to lower edge ‘Milton ...

Watercolor on heavy paper work is unframed Signed by artist in pencil, lower right verso. Property from the estate of Anne E. C. Porter, with the estate stamp, verso. ...

Children Amongst Foxgloves - Female Illustrator of The Golden Age by a female illustrator of The Golden Age Watercolor on paper, signed 'A. Bowerley' lower left. 11 x 20 in. (sight)...

The technique and subject matter work well together in this loosely but masterfully rendered World War 1 romantic illustration of a Soldier and a Parisian woman. Even though this wo...

Meticulously rendered account of three prospectors trying to rustle up some water before they can dig up some gold. Magazine Illustration of the Old West, American West, Cowboys Casein on board, Western / Frontier Art...

Original Vintage 1920's Ink and Watercolor Fashion Illustration by listed New England artist Harriette (Nutting) Cooper (1901 - 2002). The illustration depicts a lovely young flappe...

Bernardo Navarro Tomas (Cuba, 1977) 'Untitled', 2017 mixed media on japanese paper 12.3 x 17 in. (31 x 43 cm.) ID: NAA-302 Hand-signed by author

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

An elegantly rendered mid-century Parisian model with a stylish hat is masterfully rendered by American female illustrator Ruth Sigrid Grafstrom ...

This Drawing has a sketch on the reverse as well as handwritten notes, one of which reads "On loan from the Freddy Wittop's private collection." Costume designer Freddy Wittop won a Tony Award for his work on "Hello, Dolly!" and was also the recipient of a TDF Irene Sharaff...

Luis Miguel Valdes (Cuba, 1949) 'To the left, woman', 2024 acrylic, ink and watercolor on paper 25.6 x 37.8 in. (65 x 96 cm.) Hand-signed by author _________________________________...

A precise and exact rendering and meticulous spacial arrangement are on full display in Lewandowski's this later work. The work looks better in person. The artwork is in pristine co...

This work clearly has homosexual overtones which in the mid-'40s was as daring as showing nudity. I am not sure if this was the artist's intention but the salesgirl and the model look identical and she signs it twice Shermond. Added to this is a strobe light effect where the model's image is partly replicated giving the impression of 2 figures. She's lost in thought pondering the notion of removing the bows and seeing the consequences. Meanwhile, the sales girls ( perhaps her alta ego - perhaps an admirer ) eggs her on. Caption: "You can always remove the bows if you think they're too fussy." Cover cartoon for unknown publication - Signed "Shermund" twice in the lower right image, dated on verso, and captioned in graphite in the lower margin. Original Matte and not framed - Barbara Shermund...

"They paved paradise and put up a parking lot," Joni Mitchell said. - - Created in 1969, at the dawn of the American environmental movement, artist Richard Erdoes draws a sequential narrative in the form of a coil. From inception to destruction, it illustrates a list of things that humans are doing to destroy the world we live in. The work was commissioned for school-age humans and executed in a whimsically comic way. Yet the underlying narrative is sophisticated and foreshadows a world that could be on the brink of ecological disaster. Graphically and conceptually, this work exhibits an endless amount of creativity and Erdoes cartoony style is one to fall in love with. Signed lower right. Unframed 12.4 inches Width: 12.85 inches Height is the live area. Board is 16x22 inches. Richard Erdoes (Hungarian Erdős, German Erdös; July 7, 1912 – July 16, 2008) was an American artist, photographer, illustrator and author. Early life Erdoes was born in Frankfurt,to Maria Josefa Schrom on July 7, 1912. His father, Richárd Erdős Sr., was a Jewish Hungarian opera singer who had died a few weeks earlier in Budapest on June 9, 1912.After his birth, his mother lived with her sister, the Viennese actress Leopoldine ("Poldi") Sangora,He described himself as "equal parts Austrian, Hungarian and German, as well as equal parts Catholic, Protestant and Jew..."[4] Career He was a student at the Berlin Academy of Art in 1933, when Adolf Hitler came to power. He was involved in a small underground paper where he published anti-Hitler political cartoons which attracted the attention of the Nazi regime. He fled Germany with a price on his head. Back in Vienna, he continued his training at the Kunstgewerbeschule, now the University of Applied Arts, Vienna.[5] He also wrote and illustrated children's books and worked as a caricaturist for Tag and Stunde, anti-Nazi newspapers. After the Anschluss of Austria in 1938 he fled again, first to Paris, where he studied at the Academie de la Grande Chaumiere, and then London, England before journeying to the United States. He married his first wife, fellow artist Elsie Schulhof (d. xxxx) in London, shortly before their arrival in New York City. In New York City, Erdoes enjoyed a long career as a commercial artist, and was known for his highly detailed, whimsical drawings. He created illustrations for such magazines as Stage, Fortune, Pageant, Gourmet, Harper's Bazaar, Sports Illustrated, The New York Times, Time, National Geographic and Life Magazine, where he met his second wife, Jean Sternbergh (d. 1995) who was an art director there. The couple married in 1951 and had three children.[6] Erdoes also illustrated many children's books. An assignment for Life in 1967 took Erdoes to the Pine Ridge Indian Reservation for the first time, and marked the beginning of the work for which he would be best known. Erdoes was fascinated by Native American culture, outraged at the conditions on the reservation and deeply moved by the Civil Rights Movement that was raging at the time. He wrote histories, collections of Native American stories...

Initialed in cartouche bottom center Provenance: Robert L. B. Tobin Foundation Matted but Unframed

If there ever were a perfect work in the canon of art history, this masterpiece study by Dean Cornwell would be it. Every line has meaning and not a line out of place, as Cornwell d...

Original watercolor on paper. Hand signed on front by Tarkay. Sheet size 12 x 9 inches. Frame size approx 18 x 15 inches. Artwork is in excellent condition. Certificate of Authenticity included. All reasonable offers will be considered. About the Artist: Itzchak Tarkay (Israeli, 1935–2012) was a painter known for his Post-Impressionist portraits done in watercolor and acrylic. Influenced by the work of both Henri Matisse and Henri de Toulouse-Lautrec, Tarkay’s expressive, use of color lent a dream-like quality to his serigraphs, prints, and paintings. Born in 1935 in Subotica, Serbia, Tarkay and family settled in Israel after Allied forces freed them from a Nazi concentration camp during World War II. The artist went on to study at the Bezalel Academy of Art and Design in Jerusalem and later the Avni Institute of Art and Design in Tel Aviv. Later in life, Tarkay mentored younger Israeli artists, including Yaacov Agam and Yuval Wolfson...

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...

Bernardo Navarro Tomas (Cuba, 1977) 'Untitled', 2017 mixed media on japanese paper 12.3 x 17 in. (31 x 43 cm.) ID: NAA-306 Hand-signed by author

Mixed media on paper, 1989, signed 'Ivan Chermayeff' and dated lower right, titled lower left. 29 1/2 x 22 in. (sheet), 32 1/2 x 24 1/2 in. (frame).

Bernardo Navarro Tomas (Cuba, 1977) 'Untitled', 2017 mixed media on japanese paper 12.3 x 17 in. (31 x 43 cm.) ID: NAA-308 Hand-signed by author

Two elegant and leggy models are rendered and meticulously designed in this illustration for Geoffrey Beene. Miyake's composition is one model as two or two models as one. We see th...

An uncanny and unexpected pose characterizes this work as Julius Ceasar warily looks over his shoulder and blood-stained toga. Signed lower right "M. Gl...

A wonderful and charming cover concept as an attractive young women stares at a beautiful butterfly caught in the netting of her hat. Fabry executes the work with his stylised loos...

Luis Miguel Valdes (Cuba, 1949) 'Splash', 2024 acrylic, ink and watercolor on paper 25.6 x 37.8 in. (65 x 96 cm.) Hand-signed by author _____________________________________________...

Luis Miguel Valdes (Cuba, 1949) 'Looking at a different sun', 2024 acrylic, ink and watercolor on paper 25.6 x 37.8 in. (65 x 96 cm.) Hand-signed by author _________________________...

E. Simms Campbell was the first and top black commercial artist in the USA for decades. In "Grandma," we see a deeply conceptual work, with the blank canvas as the main point of the...

Art Deco "Mademoiselle X" story illustration for Vogue February 1, 1934, watercolor and ink, reverse signed in pencil "Benito for Madame X," pencil inscription "Feb.1, 1934 / Page 51 / 316," accompanied by corresponding issue of Vogue magazine...

Juan Sebastian Barbera (Mexico, 1964) 'Untitled', 2013 acrylic on paper Guarro Biblos 250g. 44.1 x 30 in. (112 x 76 cm.) Unframed ID: BAR-121 Hand-signe...

Vogue Magazine Fashion Illustration (Stephen Sprouse) Antonio's mature style is on full display with a few quick strokes of the brush he is exemplifying the epitome of style and clas...

Luis Miguel Valdes (Cuba, 1949) 'Sentida-1-99', 1999 ink on paper 13.8 x 11.9 in. (35 x 30 cm.) ID: 1D199901 Hand-signed by author ______________________________________________ Biog...

Bernardo Navarro Tomas (Cuba, 1977) 'Untitled', 2017 mixed media on japanese paper 12.3 x 17 in. (31 x 43 cm.) ID: NAA-309 Hand-signed by author

Roberto Fabelo Conversacion, 2010 Crayon on paper 30 x 22 in

Luis Miguel Valdes (Cuba, 1949) 'Gestos 1', 2019 acrylic on paper Canson 320 g. 17.8 x 17.8 in. (45 x 45 cm.) ID: 1D201912 Hand-signed by author _____________________________________...

Bernardo Navarro Tomas (Cuba, 1977) 'Untitled', 2017 mixed media on Japanese paper 12.3 x 17 in. (31 x 43 cm.) ID: NAA-311 Hand-signed by author

Original watercolor on paper. Hand signed on front by the artist. Additional images are available upon request. Certificate of Authenticity is included. Please do not hesitate to ...

Luis Miguel Valdes (Cuba, 1949) 'Gorda 10', 2007 watercolor on paper Canson 320 g. 21.5 x 15 in. (54.5 x 38 cm.) Edition of ID: 1D200721 Hand-signed by author ______________________...

Luis Miguel Valdes (Cuba, 1949) 'Dibujos Encontrados III', 2012 acrylic, collage on paper 29.6 x 21.7 in. (75 x 55 cm.) ID: 1D201203 Hand-signed by author ___________________________...

Luis Miguel Valdes (Cuba, 1949) 'Gorda 5', 2007 ink on paper Canson 320 g. 21.5 x 15 in. (54.5 x 38 cm.) ID: 1D200716 Hand-signed by author __________________________________________...

Luis Miguel Valdes (Cuba, 1949) 'Enrredo 2', 2004 ink on paper 11.9 x 19.7 in. (30 x 50 cm.) ID: 1D200402 Hand-signed by author ______________________________________________ Biograp...

Luis Miguel Valdes (Cuba, 1949) 'Enrredo', 2004 ink on paper 11.9 x 13.8 in. (30 x 35 cm.) ID: 1D200401 Hand-signed by author ______________________________________________ Biography...

Luis Miguel Valdes (Cuba, 1949) 'Perfil 2', 1999 ink on paper 15.8 x 11.9 in. (40 x 30 cm.) ID: 1D199912 Hand-signed by author ______________________________________________ Biograph...

Luis Miguel Valdes (Cuba, 1949) 'Reclinada-02', 2011 ink on paper Deponte 300 g. 11.5 x 15.4 in. (29 x 39 cm.) ID: 1D201104 Hand-signed by author ____________________________________...

Luis Miguel Valdes (Cuba, 1949) 'Linea con cara-1', 2004 ink on paper 11.9 x 13.8 in. (30 x 35 cm.) ID: 1D200404 Hand-signed by author ______________________________________________ ...

Luis Miguel Valdes (Cuba, 1949) 'Mira', 2016 acrylic on paper Canson 320 g. 20.9 x 16.6 in. (53 x 42 cm.) Edition of ID: 1D201607 Hand-signed by author _____________________________...

Luis Miguel Valdes (Cuba, 1949) 'Americas', 2016 acrylic on paper Canson 320 g. 20.9 x 16.6 in. (53 x 42 cm.) ID: 1D201601 Hand-signed by author _____________________________________...

Luis Miguel Valdes (Cuba, 1949) 'Manos 2', 2016 acrylic on paper Canson 320 g. 20.9 x 16.6 in. (53 x 42 cm.) ID: 1D201606 Hand-signed by author ______________________________________...

Luis Miguel Valdes (Cuba, 1949) 'Glifos 2', 2008 ink on paper 15 x 11.1 in. (38 x 28 cm.) ID: 1D200803 Hand-signed by author ______________________________________________ Biography ...

Luis Miguel Valdes (Cuba, 1949) 'Glifos 3', 2008 ink on paper 11.1 x 15 in. (28 x 38 cm.) ID: 1D200804 Hand-signed by author ______________________________________________ Biography ...

Bernardo Navarro Tomas (Cuba, 1977) 'Untitled', 2017 mixed media on japanese paper 12.3 x 17 in. (31 x 43 cm.) ID: NAA-304 Hand-signed by author

India ink/Wash on paper Signed and dated on lower left The work is housed in super elegant Four Thousand Five Hundred Dollar Frame with Master Museum matting

Signed and dated lower right; inscribed, Dated and Signed on Verso Provenance: Ashley John Gallery

Original mixed media on paper (pen, watercolor and acrylic). Collaboration by Aline Kominsky-Crumb and Dominique Sapel for a show in Miami, 2012. Hand signed lower front by Aline K...

This sexy joke cartoon with thought balloons and some bathroom humor was done by the brilliant humorist cartoonist for Mad Magazine, Al Jaffee. The joke's...