New York City - Drawings and Watercolor Paintings

Fall (P6.8) Eve Nethercott American (1925–2015) Date: 1951 Watercolor on Paper Size: 18 x 22 in. (45.72 x 55.88 cm)

Of her recent works, Urso states, "I make exploratory paintings, working in response to my immediate environment. My approach involves moment-to-moment extrapolation governed by intu...

Italian School, 16th Century Provenance: Private Collection, New York This intriguing drawing is a study by an anonymous 16th-century Italian artist after a vignette in Michelangelo’s fresco of The Last Judgement in the Sistine Chapel. The altar wall of the Sistine Chapel was already richly decorated when Pope Clement VII commissioned Michelangelo to paint his Last Judgment...

Ink on paper Signed and dated, l.c. This artwork is offered by ClampArt, located in New York City. Mark Beard, born in 1956 in Salt Lake City, now...

Sandy Litchfield found peace and inspiration in regular solitary walks through nature throughout the pandemic. Her most recent body of work diaristically documents her constitutional...

Reilly uses a toning technique to endow her graphite works with a smooth, seamless quality. Rather than distinct outlines, her flower petals glide gracefully into the surrounding spa...

This is a soft pastel on toned archival paper suitable for framing under glass . The artist has signed and dated the work on the bottom right.

With elements of surrealism and fantasy, this is a soft pastel painting on toned archival paper. It is part of an ongoing series of work by the artist depicting humorous observations...

Signed and dated

"White Eggplant on Red Table" is a color pencil drawing on paper by artist Emilio Sanchez. The drawing is to the paper edge and initialed "ES" in the lower right. There is an Emilio...

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. ...

Jack Youngerman Untitled Study #26, 1967 Gouache painting on paper (with original JL Hudson and PACE Gallery labels) Hand signed and dated '67 on the front; J.L. Hudson Gallery Label on Verso. Unique Abstract Expressionist work on paper Frame included Framed Measurements: Framed: 15 inches by 15 inches by 1.5 inch Artwork: 7.75 inches by 7.5 inches Provenance From the estate of Anne Markley Spivak J. L. Hudson Gallery Label affixed to verso (back). The J.L. Hudson Gallery, Detroit, Michigan This 1967 unique, signed gouache painting by renowned abstract expressionist painter Jack Youngerman was acquired from the estate of Anne Markley Spivak. It is held in the original vintage metal frame with the original J.L. Hudson Gallery label, as well as the PACE gallery label on the verso The artwork has been newly loated and framed in a museum quality white wood frame; the original labels from the original back board have been affixed to the back to preserve provenance. Jack Youngerman Biography Jack Youngerman was born in St. Louis, Missouri on March 25, 1926. He moved to Louisville, Kentucky in 1929 and studied at the University of Missouri, Columbia from 1944 to 1946 under a wartime navy training program. He graduated from the University of North Carolina Chapel Hill in 1947 and, that same year, he returned to Missouri to finish his Bachelor’s degree in Journalism before moving to Paris on a G.I. scholarship. In Paris, Youngerman enrolled at the Ecole des Beaux-Arts, studying drawing with Jean Souverbie. He explored Paris, taking in the cathedrals, museums, and history in order to grasp a greater sense of art history. He also traveled to the Netherlands, Spain, Belgium, Italy, and Greece on fine art excursions. In 1948, Youngerman became friends with Ellsworth Kelly, Eduardo Paolozzi, and Cesar – fellow students at Ecole des Beaux-Arts. He married Delphine Seyrig in 1950, and later that year he had his first group exhibition at Galerie Maeght in Paris. He visited the studios of Constantín Brancusi and Jean Arp and became heavily influenced by the organic forms present in their work. He also met artist Alexander Calder through his father-in-law, Henri Seyrig, and experimental filmmaker and artist, Robert Breer...

Railroad Worker Industrial WPA American Scene Mid Century Modern Social Realism Jo Cain (1904 - 2003) Railroad worker 36 ¼ x 27 inches Oil on paper c. 1930s S...

this is a soft pastel on red toned heavyweight archival paper , framing under glass recommended for display. full figured women like Botero theme: circus, food, cake, relationships,...

Untitled (Two Men, Sitting and Standing) 2017 Signed and dated, l.r. Charcoal with red and white conté crayon on Rives BFK paper 30 x 21 inches (76.2 x 53.3 cm) $1,600 This work ...

Jack Youngerman October 1, from Betty Parsons Gallery, 1964 India ink on paper, with original Betty Parsons Gallery label Pencil signed and dated '64 on the front; also signed, title...

Charles Houghton Howard was born in Montclair, New Jersey, the third of five children in a cultured and educated family with roots going back to the Massachusetts Bay colony. His father, John Galen Howard, was an architect who had trained at M.I.T. and the École des Beaux-Arts in Paris and apprenticed in Boston with Henry Hobson Richardson. In New York, the elder Howard worked for McKim, Mead and White before establishing a successful private practice. Mary Robertson Bradbury Howard, Charles’s mother, had studied art before her marriage. John Galen Howard moved his household to California in 1902 to assume the position of supervising architect of the new University of California campus at Berkeley and to serve as Professor of Architecture and the first Dean of the School of Architecture (established in 1903). The four Howard boys grew up to be artists and all married artists, leaving a combined family legacy of art making in the San Francisco Bay area that endures to this day, most notably in design, murals, and reliefs at the Coit Tower and in buildings on the Berkeley campus. Charles Howard graduated from the University of California at Berkeley in 1921 as a journalism major and pursued graduate studies in English at Harvard and Columbia Universities before embarking on a two-year trip to Europe. Howard went to Europe as a would-be writer. But a near-religious experience, seeing a picture by Giorgione in a remote town outside of Venice, proved a life-altering epiphany. In his own words, “I cut the tour at once and hurried immediately back to Paris, to begin painting. I have been painting whenever I could ever since” (Charles Howard, “What Concerns Me,” Magazine of Art 39 [February 1946], p. 63). Giorgione’s achievement, in utilizing a structured and rational visual language of art to convey high emotion on canvas, instantly convinced Howard that painting, and not literature, offered the best vehicle to express what he wanted to say. Howard returned to the United States in 1925, confirmed in his intent to become an artist. Howard settled in New York and supported himself as a painter in the decorating workshop of Louis Bouché and Rudolph Guertler, where he specialized in mural painting. Devoting spare time to his own work, he lived in Greenwich Village and immersed himself in the downtown avant-garde cultural milieu. The late 1920s and early 1930s were the years of Howard’s art apprenticeship. He never pursued formal art instruction, but his keen eye, depth of feeling, and intense commitment to the process of art making, allowed him to assimilate elements of painting intuitively from the wide variety of art that interested him. He found inspiration in the modernist movements of the day, both for their adherence to abstract formal qualities and for the cosmopolitan, international nature of the movements themselves. Influenced deeply by Surrealism, Howard was part of a group of American and European Surrealists clustered around Julien Levy. Levy opened his eponymously-named gallery in 1931, and rose to fame in January 1932, when he organized and hosted Surrealisme, the first ever exhibition of Surrealism in America, which included one work by Howard. Levy remained the preeminent force in advocating for Surrealism in America until he closed his gallery in 1949. Howard’s association with Levy in the early 1930s confirms the artist’s place among the avant-garde community in New York at that time. In 1933, Howard left New York for London. It is likely that among the factors that led to the move were Howard’s desire to be a part of an international art community, as well as his marriage to English artist, Madge Knight...

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

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, ...

Louis Valtat Young Girl Stamped with initials lower right Pencil on brown paper Sight 7 x 6 inches Provenance: Mrs. Ernest M. Werner, New York Private Collection, Rhode Island Loui...

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

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...

As a teen, Paul Jenkins worked with ceramicist James Weldon which led to a fascination with glazes; Jenkins cultivated and eventually achieved a similar effect in his paintings by mixing oil and enamel on canvas in the 50s. In 1937, Jenkins attended classes at the Kansas City Art Institute where he painted his first series of watercolors he called interior landscapes inspired by caves in the Ozarks. After serving in the US Naval Air Corps for 2 years, Jenkins moved to New York to study with Yasuo Kuniyoshi and Morris Kantor at the Art Students League from 1948 to 1952. During those years, Jenkins met Mark Rothko, Jackson Pollock and Barnett Newman. In 1953 left for Paris where he discovered and was struck by the color density and luminosity in abstract oil works termed ébauches by Gustave Moreau and pastels by Odilon Redon. He began to experiment with poured paints in various thicknesses on canvas and paper and found this technique achieved luminosity of color which in its own way was comparable to that of Moreau and Redon. The next year, Jenkins added Winsor Newton pigments and chrysochrome, a viscous enamel paint, into his poured paintings, further enriching their color density and incandescence. The next major development in technique came in 1959 when he began using an ivory knife to guide the flow of paint. That same year, he also began to title his paintings Phenomena followed by a key word or phrase. A film on Jenkins' technique titled The Ivory Knife: Paul Jenkins at Work was shown at the Museum of Modern Art and received the Golden Eagle Award at the Venice Film Festival in 1966. In 1954 Jenkins had his first solo exhibition in Paris where he met Martha Jackson, whose New York gallery included Jenkins in a group show the following year. In 1956, Martha Jackson Gallery held a solo exhibition of Jenkins’ work at which Divining Rod...

Whip Maze is a watercolor painting by Italian artist Lucio Pozzi. The canvas is signed and titled by the artist himself, and the work is currently housed at Hal Bromm Gallery.

John Frederick Kensett (1816 - 1872) Portrait of an Italian Fencer, circa 1845-47 Watercolor on wove paper 13 1/8 x 8 1/8 inches Signed with initials and inscribed lower right "J.F.K. Rome" From October 1845 through the spring of 1847, Kensett lived in Rome. He attended classes where he sketched from live models, and he sketched in the countryside outside Rome and around Florence, Perugia, and Venice, places he visited with his artist friends. He fulfilled commissions for paintings from Americans in Italy, and by 1847 his career was well established. Son of an English immigrant engraver, John Kensett lacked enthusiasm for that medium and became one of the most accomplished painters of the second generation of Hudson River School painters. His reputation is for Luminism, careful depiction of light, weather, and atmosphere as they affect color and texture of natural forms. He was particularly influenced by the painting of Asher Durand in that he focused on realism and detail rather than the highly dramatic views associated with Thomas Cole. Going to the western United States in the mid 1850s and the 1860s, he was the first of the Hudson River School painters to explore and paint the West. Kensett was born and raised in Cheshire, Connecticut, and learned his engraving from his father, Thomas Kensett with whom he worked in New Haven, Connecticut until 1829. He continued working until 1840 as an engraver of labels, banknotes and maps and was employed part of that time by the American Bank Note Company in New York City. There he met Thomas Rossiter, John Casilear, and other artists who urged him to pursue painting. In 1840, he and Rossiter, Asher Durand, and Casilear went to Europe where Kensett stayed for seven years and supported himself by doing engraving but became accomplished in landscape painting. Having sent canvases of Italian landscapes back to New York, he had a reputation for skillful painting that preceded him. When he returned to New York City in 1847, he was an "instant success" and very sought after by collectors. Two of his Italian landscapes had already been purchased by the American Art Union. By 1849, he was a full member of the National Academy of Design and was generally popular among his peers. His studio was a gathering place with travelers stopping by to see his canvases and to identify "precise locations in the Catskills or Newport or New England in the oil sketches and drawings that covered his walls." (Zellman 170). For the women, he was a popular bachelor, "romantic looking with high forehead and sensitive expression." (Samuels 262) He was also sought after by many organizations. Among his activities were serving on the committee to oversee the decoration of the United States Capitol in Washington DC, and becoming one of the founders of the Metropolitan Museum in New York. An inveterate traveler, Kensett spent summers on painting excursions away from New York City. One of these trips was a special painting excursion with fifteen other artists sponsored by the B & O Railroad from Baltimore, Maryland to Wheeling, West Virginia. Unlike many of the Hudson River painters...

Paper paint charcoal collage fabric These collages were created first in the presence of a live model, working quickly, in charcoal and pastel, and again, later, alone in the studio...

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...

Mary Reilly explores the full tonal depth of graphite in her nature drawings and landscapes. She finds all of the soft subtleties of gray as she shifts seamlessly from leaf to bud, s...

ARIATTA 6 (Abstract drawing) Pastel and acrylic on paper - Unframed. Margaret Neill works for a time on a group of pieces in a series, using classic almost primal materials such as...

We are thrilled to present one of our first works on paper of 2023 by Dina Brodsky - the striking Raven, in her signature tondo format. Like most of her miniature works, the charm ex...

felt tip pen on paper.

These collages were created first in the presence of a model, working quickly, in charcoal and pastel, and again, later, alone, furiously tearing and pasting images from magazines, v...

The latest watercolors from Ray Kass strike a balance between audacity and contemplation. Drawing from the Tibetan Buddhist tradition of the Tsakli - sets of miniature paintings feat...

Part of an ongoing series of mermaids by the artist on toned archival paper signed and dated on bottom

Saul Steinberg Malibu, 1984 Pencil and colored pencil on paper 10 1/4 x 13 3/4 inches (sheet) 23 1/2 x 25 1/2 inches (frame) Signed recto Silver metal frame, float mount with window...

Soft pastel on toned sanded archival paper suitable for framing under glass. Signed and dated bottom right.. Part of an ongoing series of mermaid themes by the artist

Dina introduces a sense of movement to her gouache Bird by Bird series with her miniature portrait, Ocellated Crake. Wings spread, beaks open wide, and legs hover in the air. This dy...

Billy Al Bengston Turkey Dracula, 1973 Color lithograph with hand coloring and watercolor (unique variant) on Lanaquaralle paper with deckled edges Hand signed and numbered A.P. #6, ...

ROBERT GOODNOUGH Seated Girl, 1961 Charcoal Drawing on Paper 23 3/4 × 18 inches Hand signed in charcoal on the front Unframed Unique This is an exquisite, rare poignant early Robert ...

These collages were created first in the presence of a model, working quickly, in charcoal and pastel, and again, later, alone, furiously tearing and pasting images from magazines, v...

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...

Oil on paper About Tom Bennett: With quick brushstrokes, Tom Bennett creates representational images of human figures and animals, emphasizing movement in a manner reminiscent of Lucien Freud, Edgar Degas and the photographer Eadweard Muybridge. Elongated and blurry, the horse racing up a hill (Canter Fritz, 2002) and the sinister cat landing a leap (Chien Blanc, 1998) elicit a sense of foreboding enhanced by Bennett’s somber palette; his female figures too reflect a grim sense of humor with their distorted nude bodies. The face of Untitled Figure (1997), for example, is obscured by layers of dark paint. Classically trained as a painter, he initially worked in oil on canvas but discovered that monotype printing enabled him to “literally push the image around,” creating an essential element of motion. To overcome the limited scale of monotypes, however, he switched to painting on slick-surfaced plastic. Tom Bennett’s practice is rooted in the classical tradition where painting and drawing from life is highly regarded. Bennett’s work is heavily influenced by Francis Bacon, Frank Auberbauch and foremost his father, Harry Bennett, who was also an artist. Tom’s time living abroad in Spain and traveling through Eastern Europe and Africa provided the artistic freedom to explore many of the techniques and subject matter that continue to define his practice. Bennett was born and raised in Connecticut. His mediums include monotypes, oil on paper, canvas or styrene board. In a technique that Tom started over 4 years ago, several of his monotypes have been painted over with oil paint using a palette knife, brush, or his fingers to re-purpose the underlying image. These works are a testament to Bennett’s ability to quickly and concisely compose an image with expressive brush strokes, foreshortened figures and expertly rendered light. Tom’s work has been featured in group and solo exhibitions worldwide. Bennett lives and works in Brooklyn, New York. He is currently represented by Tabla Rasa Gallery...

Amy Londoner Beach at Atlantic City, circa 1922 Signed lower right Pastel on paper Sight 23 x 18 inches Amy Londoner (April 12, 1875 – 1951) was an American painter who exhibited at the 1913 Armory Show. One of the first students of the Henri School of Art in 1909. Prior to the Armory Show of 1913, Amy Londoner and her classmates studied with "Ashcan" painter Robert Henri at the Henri School of Art in New York, N.Y. One notable oil painting, 'The Vase', was painted by both Henri and Londoner. Londoner was born in Lexington, Missouri on April 12, 1875. Her parents were Moses and Rebecca Londoner, who moved to Leadville, Colorado, by 1880. In 1899, Amy took responsibility for her father who had come to Los Angeles from Leadville and had mental issues. By 1900, Amy was living with her parents and sister, Blanche, in the vicinity of Leadville, Denver, Colorado. While little was written about her early life, Denver City directories indicated that nineteenth-century members of the family were merchants, with family ties to New York, N.Y. The family had a male servant. Londoner traveled with her mother to England in 1907 then shortly later, both returned to New York in 1909. Londoner was 34 years old at the time, and, according to standards of the day, should have married and raised a family long before. Instead, she enrolled as one of the first students at the Henri School of Art in 1909. At the Henri School, Londoner established friendships with Carl Sprinchorn (1887-1971), a young Swedish immigrant, and Edith Reynolds (1883-1964), daughter of wealthy industrialist family from Wilkes-Barre, PA. Londoner's correspondence, which often included references to Blanche, listed the sisters' primary address as the Hotel Endicott at 81st Street and Columbus Avenue, NYC. Other correspondence also reached Londoner in the city via Mrs. Theodore Bernstein at 252 West 74th Street; 102 West 73rd Street; and the Independent School of Art at 1947 Broadway. In 1911, Londoner vacationed at the Hotel Trexler in Atlantic City, NJ. As indicated by an undated photograph, Londoner also spent time with Edith Reynolds and Robert Henri at 'The Pines', the Reynolds family estate in Bear Creek, PA. Through her connections with the Henri School, Londoner entered progressive social and professional circles. Henri's admonition, phrased in the vocabulary of his historical time period, that one must become a "man" first and an artist second, attracted both male and female students to classes where development of unique personal styles, tailored to convey individual insights and experiences, was prized above the mastery of standardized, technical skill. Far from being dilettantes, women students at the Henri School were daring individuals willing to challenge tradition. As noted by former student Helen Appleton Read, "it was a mark of defiance,to join the radical Henri group." As Henri offered educational alternatives for women artists, he initiated exhibition opportunities for them as well. Troubled by the exclusion of work by younger artists from annual exhibitions at the National Academy of Design, Henri was instrumental in organizing the no-jury, no-prize Exhibition of Independent Artists in 1910. About half of the 103 artists included in the exhibition were or had been Henri students, while twenty of the twenty-six women exhibiting had studied with Henri. Among the exhibition's 631 pieces, nine were by Amy Londoner, including the notorious 'Lady with a Headache'. Similarly, fourteen of Henri's women students exhibited in the groundbreaking Armory Show of 1913, forming about eight percent of the American exhibitors and one-third of American women exhibitors. Of the nine documented works submitted by Londoner, five were rejected, while four pastels of Atlantic City beach scenes, including 'The Beach Umbrellas' now in the Remington Collection, were displayed. Following Henri's example, Londoner served as an art instructor for younger students at the Modern School, whose only requirement was to genuinely draw what they pleased. The work of dancer Isadora Duncan, another artist devoted to the ideals of a liberal education, was also lauded by the Modern School. Henri, who long admired Duncan and invited members of her troupe to model for his classes, wrote an appreciation of her for the Modern School journal in 1915. She was also the subject of Londoner's pastel Isadora Duncan and the Children: Praise Ye the Lord with Dance. In 1914, Londoner traveled to France to spend summer abroad, living at 99 rue Notre Dames des Champs, Paris, France. As the tenets of European modernism spread throughout the United States, Londoner showed regularly at venues which a new generation of artists considered increasingly passe, including the annual Society of Independent Artists' exhibitions between 1918 and 1934, and the Salons of America exhibition in 1922. Londoner also exhibited at the Morton Gallery, Opportunity Gallery, Leonard Clayton Gallery and Brownell-Lambertson Galleries in NYC. Her painting of a 'Blond Girl' was one of two works included in the College Art Associations Traveling Exhibition of 1929, which toured colleges across the country to broad acclaim. Londoner later in life suffered from illnesses then suffered a stroke which resulted in medical bills significantly mounting over the years that her old friends from the Henri School, including Carl Sprinchorn, Florence Dreyfous, Florence Barley, and Josephine Nivison Hopper, scrambled to raise funds and find suitable long-term care facilities for Londoner. Londoner later joined Reynolds in Bear Creek, PA. Always known for her keen wit, Londoner retained her humor and concern for her works even during her illness, noting that "if anything happens to the Endicott, I guess they will just throw them out." Sprinchorn and Reynolds, however, did not allow this to happen. In 1960, Londoner's paintings 'Amsterdam Avenue at 74th Street' and 'The Builders' were loaned by Reynolds to a show commemorating the Fiftieth Anniversary of the Exhibition of Independent Artists in 1910, presented at the Delaware Art Center, Wilmington, DE. In the late 80's, Francis William Remington, 'Bill Remington', of Bear Creek Village PA, along with his neighbor and artist Frances Anstett Brennan, both had profound admiration for Amy Londoner's art work and accomplishments as a woman who played a significant role in the Ashcan movement. Remington acquired a significant number of Londoner's artwork along with Frances Anstett Brenan that later was part of an exhibition of Londoner's artwork in April 15 of 2007, at the Hope Horn...

Cahuilla/Soboba Band of Luiseño Indians/Apache Billy Soza War Soldier was a pioneering Native American artist and activist whose work powerfully reflects the intersections of Indige...

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...

MEDICINAL PLANTS, CANABIS SATIVA L. (MARIJUANA), 2013 Tempera on paper 49,5 x 38,5 cm Born in 1967 in Trikala, she grew up in Athens, Greece, where she lives and works. She graduate...

Anne Diggory (b. 1951) Five at the Rail, Saratoga Springs Racecourse, New York, circa 1978 Watercolor on paper 4 3/4 x 6 inches Initialed lower right: Dig...

Ink, watercolor, colored marker on paper

oil on linen on mounted board outsider pastel on archival paper *ABOUT Stephen Basso Stephen Basso's highly original pastels and oil paintings are romantic, yet thought provoking f...

Oil on canvas

Daisy Craddock's The World in a Tomato is an abstracted red and green still life of an heirloom tomato, rendered in oil pastel. Drawn from life, Craddo...

Monotype Ms. Murray is notable for capturing the crystalline quality of northern light. She has an extensive exhibition history and she is represented in both private and public co...

Dancer Signed in pencil, l.c. Pastel on paper mounted to Glassine 14 x 10 inches This work is offered by ClampArt in New York City.

Donald Baechler Untitled (Rose), 2015 Original Graphite drawing on archival bond paper. Framed, with museum provenance Signed and dated in graphite pencil on the front Provenance: Do...

Souleymane Keita - Rainbow Field, Year: 1983, Medium: Pastel on Paper, signed and dated lower left, Size: 22.25 x 30 in. (56.52 x 76.2 cm), Descript...

ABSTRACT American Woman Abstract Non-objective Mid 20th Century Modern Drawing Irene Rice Pereira (1902-1971) Abstract 8 1/2 x 5 1/2 inches Watercolor, gouache, and ink on black paper Signed lower right Framed by Bark BIO rene Pereira was born in 1902 in Chelsea, Massachusetts and grew up in Great Barrington. She was strongly influenced by her mother who was an amateur artist. Irene began art lessons at the age of fifteen; she took a secretarial job because her father had died. She took art classes at the Art Students League in New York City. At the age of twenty-one she married the first of three husbands, Humberto Pereira, whose name she kept. She traveled extensively in Europe and North Africa and was much inspired by the expansive vistas of the Sahara Desert. Returning to New York, she began incorporating these visions into her work, increasingly experimental in her styles and methods. At first she painted on canvas, then she devised a means of actually incorporating light into her works by painting on layers of glass and mounting the layers together. In 1942 she married George Brown, an engineer, who helped her experiment with a variety of materials. By the 1950s she became more interested in writing poetry and, divorced from Brown in 1952, she married George Reavey, an Irish Poet...

Untitled 2019 Signed and dated Two-sided drawing in charcoal with red and white conté crayon on Rives BFK paper 30 x 20.5 inches $1,600 This work is offered by CLAMP in New York...

Ira Moskowitz, Polish/American (1912 - 2001) - Man in Sombrero - I, Year: circa 1989, Medium: Ink on Paper, signed, Size: 13 in. x 10 in. (33.02 cm x 25.4 cm), Description: Ira Mos...