New York - Drawings and Watercolor Paintings

Marilla Palmer Intertwining Vines, 2025 watercolor, embroidery, pressed flowers, Durabright prints on Arches paper 30 x 22 in. (pal265) Marilla Palmer lives and works in Brooklyn, N...

Manfred Schwartz (American, b. Poland, 1909-1970), Portrait of a Woman, Charcoal on Paper, with the artist's signature stamped lower right, unframed. 24.25" H x 19" W. Provenance: Fr...

Graphite on museum board This work is offered by ClampArt in New York City.

A modern illustration by American artist Ray Quigley depicting two men inside of a church.

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...

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...

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

Literature: Alfonso Panzetta, Jared French by Jared French: 600 Unpublished Works from the Artist's Italian Years (Turin, Italy: Umberto Allemandi & C., 20...

Windswept (Abstract Expressionism painting) Acrylic and mixed media on paper - Unframed. Werfel employs expressive, lyrical gestures ...

Leon Dolice New York Harbor Nocturne Signed lower right Pastel on paper 12 x 19 inches The romantic backdrop of Vienna at the turn of the century had a life-long influence upon the...

Judith Bledsoe, American (1938 - 2013) - Peter Grimes (Will Barnet Print with Collage). Year: 1975, Medium: Lithograph with Paper Collage, Image Size: 21 x 21 inches, Size: 30 x 22 ...

The image is an original animation drawing featuring Bugs Bunny and Rocky, signed by Virgil Ross lower right. Circa 1990. Condition is very good. Colored pencil and graphite. Provena...

Literature: Alfonso Panzetta, Jared French by Jared French: 600 Unpublished Works from the Artist's Italian Years (Turin, Italy: Umberto Allemandi & C., 2010), no. 31, p. 60, illus.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

Lionel S. Reiss (1894 - 1988) New York City Skyline View from the East River Watercolor on paper 13 x 19 inches Signed lower left In describing his own style, Lionel Reiss wrote, “By nature, inclination, and training, I have long since recognized the fact that...I belong to the category of those who can only gladly affirm the reality of the world I live in.” Reiss’s subject matter was wide-ranging, including gritty New York scenes, landscapes of bucolic Bucks County, Pennsylvania, and seascapes around Gloucester, Massachusetts. However, it was as a painter of Jewish life—both in Israel and in Europe before World War II—that Reiss excelled. I.B. Singer, the Nobel Prize winner for Literature, noted that Reiss was “essentially an artist of the nineteenth century, and because of this he had the power and the courage to tell visually the story of a people.” Although Reiss was born in Jaroslaw, Poland, his family immigrated to the United States in 1898 when he was four years old. Reiss's family settled on New York City’s Lower East Side and he lived in the city for most of his life. Reiss attended the Art Students League and then worked as a commercial artist for newspapers and publishers. As art director for Metro-Goldwyn-Mayer, he supposedly created the studio’s famous lion logo. After World War I, Reiss became fascinated with Jewish life in the ‘Old World.’ In 1921 he left his advertising work and spent the next ten years traveling in Europe, the Middle East, and North Africa. Like noted Jewish photographers Alter Kacyzne and Roman Vishniac, Reiss depicted Jewish life in Poland prior to World War II. He later wrote, “My trip encompassed three main objectives: to make ethnic studies of Jewish types wherever I traveled; to paint and draw Jewish life, as I saw it and felt it, in all aspects; and to round out my work in Israel.” In Europe, Reiss recorded quotidian scenes in a variety of media and different settings such as Paris, Amsterdam, the Venice ghetto, the Jewish cemetery in Prague, and an array of shops, synagogues, streets, and marketplaces in the Jewish quarters of Warsaw, Lodz, Krakow, Lublin, Vilna, Ternopil, and Kovno. He paid great attention to details of dress, hair, and facial features, and his work became noted for its descriptive quality. A selection of Reiss’s portraits appeared in 1938 in his book My Models Were Jews. In this book, published on the eve of the Holocaust, Reiss argued that there was “no such thing as a ‘Jewish race’.” Instead, he claimed that the Jewish people were a cultural group with a great deal of diversity within and between Jewish communities around the world. Franz Boas...

A new series inspired by architecture, décor and stylish personalities of the world of interior design. The worlds of fashion, society and pop culture are captured in the illustrati...

Sister Mary Corita Kent I Love You Very, ca. 1975 Original watercolor on paper Unique works on paper by Sister Corita Kent, like this charming hand signe...

"Second Theme" 1949 Abstract Mid 20th Century Geometric Non-Objective Hard Edge Burgoyne A. Diller (American, 1906-1965) "Second Theme" 1949. Pencil and crayon on paper. Signed and dated 'D. 49' (lower right). Image: 9 1/2 x 5 1/2 in. Andre Emmerich Gallery, New York. Martha Jackson Gallery, New York. Anderson Gallery, Buffalo, New York. David K. Anderson Grandchildren's Trust. BURGOYNE DILLER (1906-1965) Recognized as the first American painter to embrace the tenets of Neo-Plasticism, Burgoyne Diller made an important contribution to the development of non-objective art in the United States. Working in a hard-edged geometric style, he produced paintings, drawings, and collages that paved the way for the development of American Minimalism during the 1960s and 70s. Born in New York City in 1906, Diller began painting and drawing as a teenager growing up in Battle Creek, Michigan. Later, while attending Michigan State University in East Lansing on an athletic scholarship, he made weekend visits to the Art Institute of Chicago, where he familiarized himself with Impressionist and Post-Impressionist painting. He was especially drawn to the landscapes and still lives of Paul Cézanne, who modeled color to create structure and volume. In 1929, Diller moved to Manhattan and enrolled at the Art Students League, where his teachers included such progressive-minded painters as Jan Matulka, Hans Hofmann, and George Grosz. Hofmann's concept of the "push-pull" effect of form and color exerted a strong influence on his early work, as did his growing familiarity with Analytical and Synthetic Cubism, German Expressionism, and other vanguard European styles. Diller had the opportunity to see some of this work firsthand, but he also kept abreast of developments abroad by reading journals such as Cahiers d'Art. Diller completed his studies at the League in 1933, the year he had his first solo exhibition at the Contemporary Arts Gallery in New York. It was around this time that his paintings began to show the influence of the reductive, pared-down geometric compositions of the Dutch Constructivist Piet Mondrian and the equally restrained compositions of Kasimir Malevich and El Lissitsky...

These recently discovered 1984 oversize pastels on archival papers were created with a live model, working quickly, mostly in pastel. The series show...

Wheeler Williams (American, 1897-1972) Untitled (Study of Three Graces), 1947 Pencil on paper 9 1/4 x 12 1/4 in. Signed lower right: Wheeler Williams, 1947 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 from Yale University in 1919 and earned a Master of Architecture degree from Harvard in 1922. He studied at the Art Institute of Chicago with sculptor Albin Polasek...

Signed and inscribed, lower center: Joseph / Ramanankamonjy / Madagascar / Petite fille / “aquarelle sur soie” Provenance: Private Collection, Paris Private Collection, Florida Som...

ink drawing on paper blind contour drawing artists self-portrait

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...

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...

Max Kuehne (1880 - 1968) Train Station, circa 1910 Watercolor on paper 8 1/4 x 10 1/4 inches Signed lower right Provenance: Private Collection, Illinois Max Kuehne was born in Halle, Germany on November 7, 1880. During his adolescence the family immigrated to America and settled in Flushing, New York. As a young man, Max was active in rowing events, bicycle racing, swimming and sailing. After experimenting with various occupations, Kuehne decided to study art, which led him to William Merritt Chase's famous school in New York; he was trained by Chase himself, then by Kenneth Hayes Miller. Chase was at the peak of his career, and his portraits were especially in demand. Kuehne would have profited from Chase's invaluable lessons in technique, as well as his inspirational personality. Miller, only four years older than Kuehne, was another of the many artists to benefit from Chase's teachings. Even though Miller still would have been under the spell of Chase upon Kuehne's arrival, he was already experimenting with an aestheticism that went beyond Chase's realism and virtuosity of the brush. Later Miller developed a style dependent upon volumetric figures that recall Italian Renaissance prototypes. Kuehne moved from Miller to Robert Henri in 1909. Rockwell Kent, who also studied under Chase, Miller, and Henri, expressed what he felt were their respective contributions: "As Chase had taught us to use our eyes, and Henri to enlist our hearts, Miller called on us to use our heads." (Rockwell Kent, It's Me O Lord: The Autobiography of Rockwell Kent. New York: Dodd, Mead and Co., 1955, p. 83). Henri prompted Kuehne to search out the unvarnished realities of urban living; a notable portion of Henri's stylistic formula was incorporated into his work. Having received such a thorough foundation in art, Kuehne spent a year in Europe's major art museums to study techniques of the old masters. His son Richard named Ernest Lawson as one of Max Kuehne's European traveling companions. In 1911 Kuehne moved to New York where he maintained a studio and painted everyday scenes around him, using the rather Manet-like, dark palette of Henri. A trip to Gloucester during the following summer engendered a brighter palette. In the words of Gallatin (1924, p. 60), during that summer Kuehne "executed some of his most successful pictures, paintings full of sunlight . . . revealing the fact that he was becoming a colorist of considerable distinction." Kuehne was away in England the year of the Armory Show (1913), where he worked on powerful, painterly seascapes on the rocky shores of Cornwall. Possibly inspired by Henri - who had discovered Madrid in 1900 then took classes there in 1906, 1908 and 1912 - Kuehne visited Spain in 1914; in all, he would spend three years there, maintaining a studio in Granada. He developed his own impressionism and a greater simplicity while in Spain, under the influence of the brilliant Mediterranean light. George Bellows convinced Kuehne to spend the summer of 1919 in Rockport, Maine (near Camden). The influence of Bellows was more than casual; he would have intensified Kuehne's commitment to paint life "in the raw" around him. After another brief trip to Spain in 1920, Kuehne went to the other Rockport (Cape Ann, Massachusetts) where he was accepted as a member of the vigorous art colony, spearheaded by Aldro T. Hibbard. Rockport's picturesque ambiance fulfilled the needs of an artist-sailor: as a writer in the Gloucester Daily Times explained, "Max Kuehne came to Rockport to paint, but he stayed to sail." The 1920s was a boom decade for Cape Ann, as it was for the rest of the nation. Kuehne's studio in Rockport was formerly occupied by Jonas Lie. Kuehne spent the summer of 1923 in Paris, where in July, André Breton started a brawl as the curtain went up on a play by his rival Tristan Tzara; the event signified the demise of the Dada movement. Kuehne could not relate to this avant-garde art but was apparently influenced by more traditional painters — the Fauves, Nabis, and painters such as Bonnard. Gallatin perceived a looser handling and more brilliant color in the pictures Kuehne brought back to the States in the fall. In 1926, Kuehne won the First Honorable Mention at the Carnegie Institute, and he re-exhibited there, for example, in 1937 (Before the Wind). Besides painting, Kuehne did sculpture, decorative screens, and furniture work with carved and gilded molding. In addition, he designed and carved his own frames, and John Taylor Adams encouraged Kuehne to execute etchings. Through his talents in all these media he was able to survive the Depression, and during the 1940s and 1950s these activities almost eclipsed his easel painting. In later years, Kuehne's landscapes and still-lifes show the influence of Cézanne and Bonnard, and his style changed radically. Max Kuehne died in 1968. He exhibited his work at the National Academy of Design, the Art Institute of Chicago, the Carnegie Institute in Pittsburgh, the Memorial Art Gallery of the University of Rochester, and in various New York City galleries. Kuehne's works are in the following public collections: the Detroit Institute of Arts (Marine Headland), the Whitney Museum (Diamond Hill...

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...

Original mixed media work on paper by Adam Baranello. Mixed media, acrylic, spray paint on canvas. Size 17 x 14 in. Offered unframed. Ships rolled Multidisciplinary artist Adam Ba...

Artist: Shlomo Koren, German (1932 - ) Title: Untitled - Conceptual Moon Phases 8 Year: 1965 Medium: Ink, Watercolor and Collage on Paper mounted to Canvas, signed l.l. Size: 15.5 in...

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, ...

Figurative, still life chalk drawing of black high heels on vintage collaged music sheets. Artwork measures 29 x 33 inches 30 x 37 inches framed, deckle edge paper is floated in natural wood moulding with glass. This modern, graphic chalk drawing on collaged vintage music sheets...

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...

Fighter Boxing Woodstock American Scene WPA Era Mid 20th Century Social John Ruggles (1907-1991) Sight: 17 1/2 x 13 1/3 inches. Framed: 22 x 18 inches...

Jody Rasch’s work is drawn from various science practices, including astronomy, biology, and sub-atomic physics. In his subject matter and technique, Rasch builds on historical conce...

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, ...

BLADE subway graffiti drawing 1992: A stunning, highly collectible original work from Blade - King of Graffiti. Executed in 1992, the work was created ...

This unique work is a watercolor by American artist Chris Ritter. The painting depicts a duck strung up upside down, held aloft by one leg. This piece is ...

Artist: Charles Levier, French (1920 - 2003) Title: Red Head Year: circa 1965 Medium: Watercolor, signed l.r. Image Size: 19.5 x 15.5 inches Size: 28 x 21.5 inches

Acrylic ink on paper. Paper size: 17" x 17" Frame size: 24.75" x 24.75" Charles Buckley lives and works in Brooklyn, NY. His current work, entitled “Striation Series,” demonstrates ...

Emma's artwork is inspired by the Parisian luxury world of fashion, textures and colour. This blue tone artwork titled "Lagoon 05" works well on it's own or as a grouping. It comes f...

Church in Prague by Kamil Kubik, Czech/American (1930–2011) Pastel on Paper, signed l.r. Size: 19.5 x 25.5 in. (49.53 x 64.77 cm)

Reynolds Beal painted this watercolor entitled “CROSS ROADS, KINGSTON.” in the spring of 1922. The paper size is 4 7/8 x 7 1/8" (12.4 x 18 cm). It is signed in pencil lower right a...

"The Defiant Ones" Tony Curtis Sidney Poitier Oscar Winning 1958 film Caricature. Two escaped convicts chained together, one white and one black, must l...

Robert Strati is an American artist who creates multimedia artworks using broken plates. His recent series “Fragmented” started when he accidentally drop...

Colby 10 (Abstract painting) Spray paint, pencil, ink, watercolor on paper - Unframed Peter Soriano is an abstract artist who divides his time between New York City and Penobscot, ...

Judy Pfaff Untitled, 1994 Collage, Mixed media, Gouache and Leaves on paper, in Artist's Frame. Signed with Andre Emmerich & Bellas Artes Gallery Labels - accompanied by original shi...

Edward Dufner (1872 - 1957) Monhegan Island, Maine Watercolor on paper Sight 16 x 20 inches Signed lower right With a long-time career as an art teacher and painter of both 'light' and 'dark', Edward Dufner was one of the first students of the Buffalo Fine Arts Academy to earn an Albright Scholarship to study painting in New York. In Buffalo, he had exchanged odd job work for drawing lessons from architect Charles Sumner. He also earned money as an illustrator of a German-language newspaper, and in 1890 took lessons from George Bridgman at the Buffalo Fine Arts Academy. In 1893, using his scholarship, Dufner moved to Manhattan and enrolled at the Art Students League where he studied with Henry Siddons Mowbray, figure painter and muralist. He also did illustration work for Life, Harper's and Scribner's magazines. Five years later, in 1898, Dufner went to Paris where he studied at the Academy Julian with Jean-Paul Laurens and privately with James McNeill Whistler. Verification of this relationship, which has been debated by art scholars, comes from researcher Nancy Turk who located at the Smithsonian Institution two 1927 interviews given by Dufner. Turk wrote that Dufner "talks in detail about Whistler, about how he prepared his canvasas and about numerous pieces he painted. . . A great read, the interview puts to bed" the ongoing confusion about whether or not he studied with Whistler. During his time in France, Dufner summered in the south at Le Pouleu with artists Richard Emil Miller...

Abstract American Modernism Mid-Century WPA Era Drawing Woodstock 20th Century, Sight size is 16 x 12 inches. The drawing is currently at the framers. A photo will be posted asap. A...

Paper charcoal collage 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, furiously te...

Yiddish Theatre Cubist Costume Design 1924 Deco Color Field Modernism Broadway. Boris Aronson (1898 – 1980) "Day and Night," 17 ½ x 13 inches. Gouache ...

This large scale charcoal on paper is from the artist's series "These fragile truths". This body of work explores the limitations and aesthetics of human memory through portraiture...

Domenick Capobianco (American, b. 1928) Abstract Composition, Pastel on Paper, pink and orange tones, apparently unsigned, stamped "Studio Domenick Capobianco" to verso, unframed. 45...

About the Series: Gilliam began the series Life Lines in 2017 after recently coming into possession of MRI scans of her brain. The scans, which she spent hours pouring over, both fas...

ZIG [Louis Gaudin]. La Mariee. Costume design for the entertainer Mistinguette for her production at the Moulin Rouge in Paris. Watercolor, Signed Zig. Ca 19...

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 ...

Walasse Ting 丁雄泉 Original three parrots drawing, 1984 Original parrots drawing done in ink with inscription held inside elegant hardback monograph with ...

This large scale charcoal on paper is from the artist's series "These fragile truths". This body of work explores the limitations and aesthetics of human memory through portraitu...

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...

Flit, is an abstract geometric black ink drawing on white paper, 2022. The work is hand-drawn by the artist without any ruler or straight edge. She works organically from the center,...

Eve Nethercott, American (1925 - 2015) - Woodstock (77), Year: 1958, Medium: Watercolor, Size: 14 in. x 20 in. (35.56 cm x 50.8 cm), Description: Eve Nethercott's serene depict...

Eve Nethercott, American (1925 - 2015) - Spotted Lilies in Vase (P1.16), Year:, Medium: Watercolor on Paper, Size: 22 x 15 in. (55.88 x 38.1 cm), ...

Eve Nethercott, American (1925 - 2015) - House (46), Year: circa 1959, Medium: Watercolor, Size: 9 in. x 12 in. (22.86 cm x 30.48 cm), Description: Looking toward the white hou...