New York - Drawings and Watercolor Paintings

John Brock Lear, Jr., an American Modernist artist from Philadelphia, Pennsylvania. His works are in the collections of the Philadelphia Museum of Art, the Woodmere Art Museum, the D...

Blue Mother Drawing #2, by Jeanette Fintz in 2020 22 x 30 inches watercolor, gouache on Fabriano paper Signed lower right corner Framed: 32 x 39.5 inches, custom white frame, 8 ply w...

English School, 18th century Pen and black ink with gray wash on cream laid paper, 9 1/4 x 5 inches (238 x132 mm). 1/4 inch repaired loss, top center, to the left of the figure’s h...

Saint Clair Cemin (Brazilian-American) Double Sculpture, 1987 Graphite and watercolor on paper Hand signed, dated and titled on the back of the sheet ...

Keith Haring (untitled) 1989 drawing: This original 1980s Keith Haring drawing was executed by the artist on the occasion of Art Cologne Germany 1989. The w...

Pen and black ink on watermarked Ingres laid paper, 9 1/4 x 12 1/4 inches (234 x 310 mm), signed, dated and titled in brown ink, and initialed and titled in black ink in the lower right corner. Light to moderate age tone and mat tone, and with the signature and notations in brown ink having become quite attenuated, although legible. Presented in a basic black wood frame with a label from the Country Art...

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...

Blanche Grambs, whose career started with the WPA, was an extremely skilled draftsperson. Her birds are masterful. This charming piece places the yooun...

In an Art Brut style Down by the River, 2022 by a.muse is a contemporary watercolor collage work on paper. The art on paper is a collection of vibrant images arranged like a patchwor...

This drawing by Zachari Logan is a self portrait made with colored pencil on Mylar depicting the artist nude immersed in the foliage of the forest. Forest No. 1, After Tom 2022 Accompanied by certificate of authenticity signed by the artist Colored pencil on Mylar 9 x 6.5 inches “This drawing is a tribute to Tom of Finland, whose work has long-influenced my own in relation to drawing, the construction of space, and self-portraiture. In Finland’s compositions, images of men in the landscape—logging, foresting, and relaxing (together, naked, clothed, alone, in pairs and in groups) had a profound effect on my own thinking about the queer body represented. I see no separation between land and body—we are nature. The queer body is not unnatural (that is a false dichotomy, often espoused by religious and conservative world views). Finland’s renderings of bodies in nature are for me a rupture of the largely European tradition of only representing male nudity...

Movies, TV and magazines are constant source of inspiration. Fame, as fleckring and shallow it can be sometimes, is very intriguing to him. The worlds of fashion, society and pop cu...

Winold Reiss The Red Silo Signed lower left Watercolor on paper 20 x 29 inches Winold Reiss (1886-1953) was an artist and designer who emigrated to the United States from Germany in 1913. Probably best known as a portraitist, Reiss was a pioneer of modernism and well known for his brilliant work in graphic and interior design. A compassionate man who greatly respected all people as human beings, he believed that his art could help break down racial prejudices. Like his father Fritz Reiss (1857-1915), who was also an artist and who was his son's first teacher, Winold Reiss was artistically moved by diverse cultures. The elder Reiss focused on folk life in Germany while Winold drew substantial inspiration from a range of cultures, particularly Native American, Mexican, and African-American. As did many young aspiring artists, Winold Reiss studied with the esteemed painter and teacher Franz von Stuck at the Royal Academy of Fine Arts in Munich, which was at that time a center of the decorative and fine-arts movement. It is not known whether Reiss met E. Martin Hennings...

Legendary Tony Bennett "NYC Traffic" Original Contemporary Drawing Cityscape Tony Bennett (1926-2023) "New York City Traffic" 11 x 12 ¼ inches Scratchboard India Ink on Board, 1997 Signed “Benedetto” lower right Framed 18 x 15 inches Provenance: Tony Bennett Estate BIO Tony Bennett is known as a vocal musician, but he is also known as Anthony Dominick Benedetto, an American visual artist. Benedetto was born August 3, 1926. He is the son of Italian immigrants from the Astoria section of Queens, New York. At the age of five Anthony was drawing pictures. He attended public schools and The High School of Industrial Arts in Manhattan where he studied art and music. Art was his first passion. In the 19th century artists like Vincent van Gogh searched for an expressive balance in art and music, but Benedetto/Bennett makes an impressive balance in both forms of artistry. The family name Benedetto means, "Blessed one", and Benedetto is how his art is signed. His paintings are impressions of the beauty throughout the world from his many music tours and travels...

Raymond Pettibon & Marcel Dzama artist book 2016 featuring collaborative Hand Drawing: Featuring an original signed collaborative drawing by the duo on the back cover of this limited...

Part of my "Nude in Interior" series. Sepia Ink, Pencil and Graphite on Paper. Original sepia ink drawing on watercolor paper. Size is 48x33cm /19x13in. Size in mat and framed 70x5...

Norman Barr recorded his beloved New York City from the Bronx, to Coney Island, to the Fulton Fish Market. In this period he was on the New Deal's Mural ...

Abstract cubist style still life graphite and acrylic painting inspired by Giorgio Morandi's bottle still life paintings "Morandi 12” by Hudson Valley artist, David Dew Bruner, made...

graphite, conte crayon and charcoal on Arches paper 30 x 19.5 inches unframed Signed 'Beard 1999' lower left corner Atelier stamp in lower right corner Unique figurative life study drawing of a seated male nude in graphite and conte crayon on Arches paper in a style that is at once traditional yet contemporary. Strong facial features and upper body muscles are evidence of the artist's excellent drafting skills. The handsome nude...

Francesco Spicuzza (American, 1883-1962) Untitled Landscape, 20th century Pastel on paper Sight size: 24 x 30 in. Framed: 26 1/4 x 32 3/8 in. Signed lower right: Spicuzza Italian-born Francesco Spicuzza was primarily a Wisconsin painter who did portraits, still-lives and local landscapes. He spent the first part of his life in near-poverty to become a painter. An eternal optimist, in 1917, the artist reported: "I am happy and my only ambition now is to paint better and better until I shall have reached the measure of the best of which I am capable." (Spicuzza, 1917, p. 22). His predilection for beach scenes germinated early: reportedly, the five-year-old boy first drew the outlines of his father's fishing boat in the sand on the seashore near their home in Sicily. After setting himself up as a fruit peddler in Milwaukee, Spicuzza's father sent for his family when Francesco was eight years old. For the following six years the boy was unable to attend school because of his job in his father's fruit and vegetable business. The poor lad suffered a caved-in shoulder from carrying a heavy wooden crate. The young Spicuzza was aided by moral and financial support from a sympathetic Milwaukee businessman named John Cramer, publisher and editor of the Evening Wisconsin, who raised Spicuzza's salary as a newspaper assembler so that he could attend school. In 1899 or 1900, Spicuzza began studying drawing and anatomy under Robert Schade (1861-1912), a painter of panoramas who had been trained in Munich under Carl Theodor von Piloty. Spicuzza was also taught by Alexander Mueller (1872-1935), a product of the Weimar and Munich academies. Mueller realized Spicuzza was a colorist and encouraged that orientation (Madle, 1961). Spicuzza found it beneficial to accept an apprenticeship in a lithographic studio for $8 a week, which demanded most of his time. During the St. Louis Universal Exposition in 1904, still a struggling student, Spicuzza attended the fair, thanks to Cramer. It was not long before Spicuzza received a twenty-five dollar portrait commission, and this inaugural success led to new commissions and allowed him to continue as a painter. The earliest influences in his work appear to be from Edward H. Potthast and Maurice Prendergast, though Spicuzza never mentioned either artist. Already in August 1910, Spicuzza was described in a newspaper as "one of the most talented of Milwaukee's rising workers." He undoubtedly received lasting inspiration from his one summer study period in 1911 with John F. Carlson at the Art Students League's Summer School in Woodstock, New York. Certainly Spicuzza would have picked up spontaneity in handling the brush from Carlson. Although he executed numerous still-lives and an occasional religious work, Spicuzza is best known for his Milwaukee beach scenes populated with frolicking bathers in multi-colored attire, not unlike the images of Potthast, who used a similar technique. Many of these are small, preparatory works on canvas board executed between 1910 and 1915. Frequently with even greater animation than Potthast, Spicuzza produced moving images of youthful energy and uninhibited child's play. These beach genre scenes reflect the attitude of American impressionists who depicted the more pleasant side of life. Spicuzza manipulated a successful balance of rich pigment applied in varying degrees of impasto texture with subtle nuances of hue. Working all'aperto, he sought "the soft enticing shades of yellow, blue, green, pink and lavender . . . to get the effects of bright glistening summer air." (L.E.S., n.d.). As a painter whose color not only derived from direct observation but also from a personal theory of color symbolism, Spicuzza traded the linear approach of lithography for dynamic patches of brilliant color. Like Prendergast, he would often tilt the angle of the picture plane to bring the viewer's position above the scene. Spicuzza was unable to enter the 1913 Armory Show or the Panama-Pacific International Exposition two years later but he did submit work to the annual exhibitions of the Pennsylvania Academy of the Fine Arts and those of the Art Institute of Chicago. His first important award was the bronze medal presented by the St. Paul Institute in 1913, which was followed by the silver medal two years later. Before long, Spicuzza had acquired a greater sense of security in his profession and was described by a writer in International Studio (April 1917) as "an independent artist with an assured future. His pastels and water-colours are poetic and joyous bits of nature with a genuine out-of-door feeling." In 1918, his Spirit of Youth, exhibited at the National Academy of Design, sold for $112.50. Four years later, the artist achieved his greatest local recognition by winning the gold medal from the Milwaukee Art Institute. Spicuzza spent a great deal of time painting en plein air and by 1925 he began summering at Big Cedar Lake, near West Bend, Wisconsin to gather his subject matter. Easter Morning (1926) owes something to the Symbolist movement, with its figure of Christ appearing over a seascape. During the difficult era of the Depression, patrons came to Spicuzza's aid and during the 40s, he taught housewives, businessmen and students at the Milwaukee Art Institute, the Milwaukee Art Center, and in his private studio. In the following decade, although his kind of art was no longer popular in the "make-it-or-break-it" New York gallery world, Spicuzza enjoyed regular patronage and sales. His beach scenes became more static and he would experiment with modernist techniques. Spicuzza died at the age of seventy-eight. Sources: L.E.S., "Do Colors Change a Person's disposition? Experiments of a Milwaukee Artist...

In the 1950s and 60s Grambs worked on many commissions. This ink drawing with a lobster, crab, and a shrimp, was probably for a cookbook; the sheet is cut in a free-form, modernist...

Seena Donneson, American (1924 - ) - Abstract Composition, Medium: Acrylic on Paper, Size: 22.25 x 30 in. (56.52 x 76.2 cm), Frame Size: 24.75 x 32.25 inches

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.

Figurative chalk drawing of black Greyhound dog and red birds on vintage collaged book pages 'The Searchers' by Louise Laplante in 2022 chalk on vintage collaged book pages 28 x 46 1/2 inches unframed, 32 x 52 inches in natural wood frame with non-glare plexi This graphic, figurative drawing in black chalk with collaged antique...

Hans Hofmann Untitled, circa 1943 Signed lower right Oil and watercolor on paper 22 1/4 x 30 3/4 inches The only artist of the New York school to participate directly in European m...

Eve Nethercott, American (1925 - 2015) - Tree (P5.61), Year: circa 1960, Medium: Watercolor on Paper, Size: 22 x 15 in. (55.88 x 38.1 cm), Description: Eve Nethercott's adept...

Eve Nethercott, American (1925 - 2015) - Winter Trees (P2.41), Year: 1958, Medium: Watercolor on Paper, Size: 14 x 20 in. (35.56 x 50.8 cm), Description: Illuminated by the s...

Black and white landscape drawing of country forest with hints of green pastel charcoal and carbon on Arches paper 8 x 10 inches un...

Eve Nethercott, American (1925 - 2015) - Fruit Still Life (P5.22), Year: circa 1960, Medium: Watercolor on Paper, Size: 11 x 14 in. (27.94 x 35.56 cm), Description: Arranged ...

Eve Nethercott, American (1925 - 2015) - Rockport (P6.39), Year: 1948, Medium: Watercolor on Paper, Size: 16 x 11 in. (40.64 x 27.94 cm), Description: Eve Nethercott's unique...

Eve Nethercott, American (1925 - 2015) - Seaside (P5.6), Year: 1947, Medium: Watercolor on Paper, Size: 13 x 20 in. (33.02 x 50.8 cm), Description: The versatility of Eve Net...

Eve Nethercott, American (1925 - 2015) - Rockport (P6.38), Year: 1948, Medium: Watercolor on Paper, Size: 12 x 18 in. (30.48 x 45.72 cm), Description: Eve Nethercott's portra...

Eve Nethercott, American (1925 - 2015) - Yellow House (P6.44), Year: circa 1948, Medium: Watercolor on Paper, Size: 15 x 20 in. (38.1 x 50.8 cm), Description: Situated on a s...

Benjamin Mendoza (Bolivian, 1935-2014) "Untitled: Reptile", Mixed Media signed in Pencil on Cardboard, 11.25 x 10.25, Late 20th Century Colors: Black, Brown, Green, Yellow

Eve Nethercott, American (1925 - 2015) - Flowers (P5.57), Year: 1960, Medium: Watercolor on Paper, Size: 20 x 15 in. (50.8 x 38.1 cm), Description: Bursting with color and ba...

Eve Nethercott, American (1925 - 2015) - House with Banisters (P1.32), Year: circa 1960, Medium: Watercolor on Paper, Size: 15.5 x 22 in. (39.37 x 55.88 cm), Description: Vie...

Eve Nethercott, American (1925 - 2015) - Red Flowers in Vase (P1.21), Year: 1956, Medium: Watercolor on Paper, Size: 22 x 15 in. (55.88 x 38.1 cm), Description: Reflecting the sunlight, the apple green vase...

Eve Nethercott, American (1925 - 2015) - City Street Corner (P1.24), Year: circa 1960, Medium: Watercolor on Paper, Size: 15 x 22 in. (38.1 x 55.88 cm), Description: Looking ...

Eve Nethercott, American (1925 - 2015) - Still Life with Fruit (P3.17), Year: 1960, Medium: Watercolor on Paper, Size: 13 x 17 in. (33.02 x 43.18 cm), Description: Beside the...

Eve Nethercott, American (1925 - 2015) - Forest (P2.59), Year: 1959, Medium: Watercolor on Paper, Size: 15 x 11 in. (38.1 x 27.94 cm), Description: Leaning to the left, the a...

Eve Nethercott, American (1925 - 2015) - Central Park and Ballerina (71), Year: 1958, Medium: Two Side Watercolor on Paper, Size: 15 in. x 22 in. (38.1 cm x 55.88 cm), Descripti...

Eve Nethercott, American (1925 - 2015) - Red and Yellow Flowers, Year: circa 1960, Medium: Watercolor, Size: 20 in. x 14 in. (50.8 cm x 35.56 cm), Description: Flowing out of t...

Tess Michalik Sunkist Sherbert, 2025 oil on Yupo paper 38 x 25 in. (mic029)

"Sweet Gum" painted by Joy Taylor in 2022 28 x 22 inches, 37 x 29 inches framed acrylic on paper Custom Frame with White Wood Molding, Window Mat and Tru Vu AR Glass Joy Taylor’s paintings transform botany into a personal vision. Her recent series on canvas, playfully titled the “Boo-K” paintings, defy traditional still life depictions that often seek to tame and order the objects of the world. On the contrary, Taylor’s subjects are never still. Her floral forms have the crisp, clean qualities of cut paper; sharp, decisive lines slice through blocks of pure pigment to create defined edges of leaves, vines and blossoms. The colors are constructed as well as the form. Her exuberant palette of oranges, blues, magenta and green echo the complimentary colors favored by the Fauvists. Color is an element in and of itself in her work. This balance of sparkling color and form is irrepressible, at times disconcerting and even dangerous in its boldness. In a series of original paintings on paper, Joy pairs down the form by focusing on a single bloom or leaf. As a specimen under a microscope, Taylor dives into the crevices and details of each leaflet on this bright green Sweet...

Eve Nethercott, American (1925 - 2015) - Portrait of a Blonde Woman (P1.4), Year: 1961, Medium: Watercolor on Paper, Size: 22.5 x 15 in. (57.15 x 38.1 cm), Description: This sumptuous portrait of a woman with cropped, curly blonde hair is imbued with luxury and elegance. As she lifts her hands to her shoulder, the woman's decadent fur robe...

Eve Nethercott, American (1925 - 2015) - Bridge in Central Park and Manhattan View from Brooklyn (70), Year: 1958, Medium: Watercolor, Size: 15 in. x 22 in. (38.1 cm x 55.88 cm)...

Robert Andrew Parker, American (1927 - 2024) - Trees, Year: circa 1961, Medium: Gouache on thin wove paper, signed and titled in pencil on verso, Size: 17.75 x 23 in. (45.09 x 58.42...

Eve Nethercott, American (1925 - 2015) - View from Docks (P2.50), Year: 1947, Medium: Watercolor on Paper, Size: 7 x 9.5 in. (17.78 x 24.13 cm), Description: Eve Nethercott's...

Eve Nethercott, American (1925 - 2015) - River Side (57), Year: circa 1961, Medium: Watercolor, Size: 15 in. x 22 in. (38.1 cm x 55.88 cm), Description: Bobbing beside the moor...

Eve Nethercott, American (1925 - 2015) - Large Flowers in Vase (P1.34), Year: circa 1960, Medium: Watercolor on Paper, Image Size: 22 x 18 inches, Size: 23.75 x 19.5 in. (60.3...

Eve Nethercott, American (1925 - 2015) - Vase of Flowers (P3.15), Year: 1960-61, Medium: Watercolor on Paper, Size: 13 x 17 in. (33.02 x 43.18 cm), Description: Filled with l...

Eve Nethercott, American (1925 - 2015) - Red Flowers (P5.37), Year: 1960, Medium: Watercolor on Paper, Size: 20 x 15 in. (50.8 x 38.1 cm), Description: Hanging down over the ...

Eve Nethercott, American (1925 - 2015) - Vase of Flowers (P3.19), Year: 1960, Medium: Watercolor on Paper, Size: 17 x 13 in. (43.18 x 33.02 cm), Description: This stunning di...

Eve Nethercott, American (1925 - 2015) - Vase of Flowers (P3.25), Year: circa 1960, Medium: Watercolor on Paper, Size: 17.5 x 13 in. (44.45 x 33.02 cm), Description: Cast aga...

Eve Nethercott, American (1925 - 2015) - Vase of Pink Flowers (P3.22), Year: 1959, Medium: Watercolor on Paper, Size: 17.5 x 13.5 in. (44.45 x 34.29 cm), Description: A uniqu...

Eve Nethercott, American (1925 - 2015) - Vase of Flowers (P3.20), Year: 1960, Medium: Watercolor on Paper, Size: 19.5 x 13 in. (49.53 x 33.02 cm), Description: Illuminated by...

Eve Nethercott, American (1925 - 2015) - Flowers (P6.33), Year: 1960, Medium: Watercolor on Paper, Size: 20 x 15 in. (50.8 x 38.1 cm), Description: Draping over the side of t...

Eve Nethercott, American (1925 - 2015) - Pheasant (P6.21), Year: circa 1958, Medium: Watercolor on Paper, Size: 22 x 29 in. (55.88 x 73.66 cm), Description: A unique watercol...

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...