New York - Figurative Drawings and Watercolors

Soft pastel on toned paper signed and dated by the artist depicting a small child being carried by relatives at what appears to be a funeral parlor.

Artist: Rodney Alan Greenblat, American (1960 - ) Title: Intrepid Year: 1989 Medium: Gouache and Color Pencil on paper, signed Size: 10 in. x 16 in. (25.4 cm x 40.64 cm) Frame S...

Artist: D. Burton, American Title: Tutti Frutti Year: 1988 Medium: Watercolor and Mixed Media on Paper, signed and dated in pencil Size: 30 x 20 in. (76.2 x 50.8 cm)

Artist: Raul Anguiano, Mexican (1915 - 2005) Title: Muchacha en una Cueva Year: 1973 Medium: Pastel on Paper, signed and dated l.r. Paper Size: 20 in. x 26 in. (50.8 cm x 66.04 cm)

Artist: Mary Joan Waid Title: Light, Behind Year: 1996 Medium: Pastel on Paper, signed Paper Size: 30 x 22 inches (76.2 x 55.88 cm) Frame: 40 x 31 inches (101.6 x 78.74 cm)

Artist: Jose Canes, Spanish (1931 - ) Title: Girl in Blue Room Year: circa 1975 Medium: Acrylic and Pastel on Paper, signed l.r. 'Dore' Size: 25.5 x 19.5 in. (64.77 x 49.53 cm)

Light, Behind Mary Joan Waid, American (1939) Date: 1996 Pastel on Paper, signed Size: 30 in. x 22 in. (76.2 cm x 55.88 cm) Frame Size: 40 x 31 inches

Soft pastel on toned sanded pastel paper richly worked. Part of an ongoing series on mirrors and fame figures. Signed at bottom

An original mixed media work by Contemporary American artist Nicholas Conrad Miller.

Acrylic and charcoal on wall paper. Unframed.

Artist: Darrell Fusaro, American (1962 - ) Title: Animal Farm from Grown-Ups Year: circa 1990 Medium: Pastel on Paper, signed l.l. Size: 22 x 30 in. (55.88 x 76.2 cm)

Mid-century watercolor painting by Neo-Impressionist Wayne Ensrud (b. 1934). Ensrud's paintings are distinguished by his luminous use of color and...

An original watercolor illustration by Nicholas Riley, American (1900 - 1944) for the Saturday Evening Post 10/19/1940. The painting...

19th Century large Thangka depicting Buddha. Framed.

This is part of an ongoing series of mermaids a subject that has interested the artist for years. He is consistently searching for contemporary observations on a mythical subject tha...

Paper charcoal printed matter

Artist: Jose Canes (aka Dore), Spanish (1931 - ) Title: Woman in Pink with Red Flowers Year: circa 1975 Medium: Acrylic and Pastel on Paper, signed l.r. 'Dore' Size: 25.5 x 19.5 in. ...

Artist: Nathaniel Tatum, American (1964 - ) Title: Tired feet for a tired soul Year: 2001 Medium: Charcoal on Paper, signed and dated Paper Size: 24 x 18 inches

Artist: John Grillo, American (1917 - 2014) Title: Tango Year: 1994 Medium: Ink on Paper, signed l.r. Size: 8 x 6 inches

We are delighted to debut Charles Buckley’s most recent series of ink drawings, based on photographs sourced from the mid-20th century. Buckley ...

Family at the Beach WPA Modernism American Scene Social Realism Mid 20th Century William Gropper (1898 - 1977) "Family at the Beach" 27 1/2 x 19 1/2 inches Mixed media on paper, c. 1940 Signed lower left Provenance: Estate of the artist. The drawing will ship from the home of Mr. Gropper's grandson. Bio Throughout his life, William Gropper used his artistic talents to protest social injustice. Born in New York City, he grew up there in poverty and left high school to work as a dishwasher and delivery boy. He eventually began a career in art and was able to study with Robert Henri and George Bellows from 1912 to 1915. He adopted their realistic painting style, and his own work expressed sympathy for common laborers and outrage at society's ills. In 1919 Gropper established a reputation as a political cartoonist working for the New York Tribune. His blunt, forceful style attracted the attention of other publications, and he provided illustrations and cartoons for a variety of magazines, from the left-wing New Masses to mainstream Vanity Fair. Like many social realist artists of the 1930s, Gropper supported liberal political causes, depicting subjects such as the plight of migrant laborers and striking factory workers. In his first gallery exhibition in 1936 at ACA Galleries, Gropper's work was so well received by critics, collectors, and artists that the following year he had two one-man exhibitions at ACA Galleries. In 1937, Gropper traveled west on a Guggenheim Fellowship and visited the Dust Bowl and the Hoover and Grand Coulee Dams, sketching studies for a series of paintings and a mural he painted for the Department of the Interior. That same year he had paintings purchased by both the Metropolitan Museum of Art and the Museum of Modern Art. Gropper exhibited at the 1939 New York World's Fair, Whitney Museum of American Art (1924-55), Art Institute of Chicago (1935-49), Carnegie International (1937-50), Pennsylvania Academy of the Fine Arts (1939-48), and National Academy of Design (1945-48). He was a founder of the Artists Equity Association and member of the National Institute of Arts and Letters. From 1940 to 1945 William Gropper was preoccupied with anti-Nazi cartoons...

An original contemporary painting by American contemporary female artist Amanda Besl. Besl uses chemistry to create rust and copper inks. Wholesale framing is available. Througho...

An original charcoal drawing of a football player in his uniform circa 1910. This work is initialed what appears to be "e.w." with the phrase "1/2 hr" written below. We have not be...

ARTIST— Juan Carlos Vazquez Lima Juan Carlos was born in Havana Cuba June 30th 1986. He Studied at Eduardo Garcia Delgado School of Art. He currently lives and works in Havana. PAI...

Alexander O. Levy was a painter, illustrator, printmaker and designer who was born in 1881 in Bonn, Germany. He died in 1946 in Buffalo, New York. At age three, he was brought to ...

Soft pastel on red toned paper signed and dated on bottom left. Part of a series of music themes by the artist Reminiscent of Botero and Diego Rivera ABOUT Stephen Basso Stephe...

Hans Burkhardt regularly used live models for his figural pastels, which he maintained an interest in throughout his long career. Untitled (1963) Pastel on paper 24" x 19" Signed an...

Monotype on paper Dramatic imagery from Tom Bennett’s series of black and white monotypes, blending surrealistic mindscapes with stark realism About Tom Bennett: With quick brushstr...

Albert Marquet Boats in Tunisia, ca. 1920 Ink on paper 5 7/10 × 5 1/5 in l 14.5 × 13.3 cm Hand-signed by the monogram lower right

RINY artists Audrey Anastasi and C.Dimitri collaborated to create contemporary collage works. Full title: That Day in Crete when you found the Blue Blanket in the Rocks and Dried it ...

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...

Watercolor and cut paper collage w/ etching of staircase. Dream scape fire escape imagery

ink drawing on paper blind contour drawing artists self-portrait

hrough drawings rendered in charcoal and ink, my recent work examines issues related to memory by exploring its limitations and aestheticizing the instability inherent in portraiture...

Charles Buckley sources images from the fifties and using acrylic ink, carefully renders familiar scenes of the everyday with lines of varying thicknesses. The subjects run the gamut...

November Letter, JGY-MLM, 2014 ink, graphite, words, wings, and thread on paper each piece 19x15” unframed Diptych Stockholm based artist Joanne Grüne-Yanoff has been exhibiti...

Pair of antique classical French salon drawings. Charcoal on paper. Illegibly signed. In giltwood frames, early 19th century. # grand tour

This is a soft pastel painting on tones sanded archival paper signed and dated by the artist. It is suitable for framing under glass to protect the pastel medium. The work is part of...

Watercolor, gesso and gilding on BFK paper. Drawing of a medieval styled woman in front of a pharmacy/restaurant and bar. Satire.

Eugene Higgins In Foreign Parts, circa 1913 Signed lower right Watercolor on paper Sight 17 x 13 inches Born William Victor Higgins in 1884 to a Shelbyville, Indiana farm family where the only art Victor was aware of as a child was his father's love of flowers. "He loved their forms and their colors, and he tended his garden as a painter might work a canvas." At the age of nine, Victor met a young artist who traveled the Indiana countryside painting advertisements on the sides of barns. He purchased paints and brushes so the young Higgins could practice his own artwork on the inside of his father's barn. He also taught Victor about art museums and especially about the new Chicago Art Institute. This information never left the young artist, and he saved his allowance until his father allowed him at the age of fifteen to attend Chicago Art Institute. He worked a variety of jobs to finance his studies both there and at the Academy of Fine Arts. Victor Higgins traveled to New York in 1908, where he met Robert Henri, who became a significant influence by depicting every-day scenes and stressing the importance of the spirit and sense of place as important factors in painting. Higgins was also greatly affected by the New York Armory Modernism Show of Marsden Hartley in 1913. While Victor Higgins was in Chicago he met former mayor and avid collector Carter H. Harrison who was to prove instrumental in the growth of Higgins career for several years. Harrison agreed to support Higgins for four years to go to Paris and Munich and paint and study in the great museums in Europe. While at the Academie de la Grande Chaumier in Paris (1910-1914) he met Walter Ufer, who was another Chicago artist being sponsored by Carter Harrison. This meeting was not only a life-long friendship, but the beginning of a great change in the way Higgins looked at "American" art. He decided that America needed it's own authentic style rather than the 19th Century classic style he was taught in Europe. Very soon after returning to Chicago in 1914, Harrison sent him and Walter Ufer on a painting trip to Taos, New Mexico for a year in exchange for paintings. Higgins made other similar agreements and was able to support himself with his painting. This trip was a life-changing experience and introduced Higgins to the authentic America he had been looking for. In 1914 Taos was an isolated village about twelve hours from Santa Fe on an impossible dirt road. But the colorful life of the pueblo people and the natural beauty drew a collection of artists who became the Taos art colony, from which the Taos Society of Artists was founded in 1915. Victor Higgins became a permanent resident within a year of his arrival and a member of the society in 1917, exhibiting with Jane Peterson in 1925 and with Wayman Adams and Janet Scudder in 1927. The members would travel around the country introducing the Southwest scenes with great success. He remained a member until the Society's dissolution in 1927. Higgins was the youngest member of the group of seven. Other members were Joseph Henry Sharp, Bert Phillips...

Monotype on paper Dramatic imagery from Tom Bennett’s series of monotypes, blending surrealistic mindscapes with stark realism About Tom Bennett: With quick brushstrokes, Tom Bennet...

Grace Knowlton Untitled (Colored Pencils), 1978 Mixed media watercolor and charcoal painting on paper. (Framed with labels from the legendary Allan Stone Collection...

Albert Marquet Boats in Tunisia, ca. 1920 Ink on paper 7 7/10 × 5 3/10 in l 19.5 × 13.5 cm Hand-signed by the monogram lower right

An original watercolor painting by Westley "Wes" Olmsted. This work is currently featured in the exhibition Man of Extremes at Benjaman Gallery in Buffalo, NY. Westley G. Olmsted (1934-2011) was a painter and sculptor. He was born in Buffalo, New York, and was a distant relative Frederick Law Olmsted...

This striking mixed media work, entitled "Maya the Wonderful" was realized in the United States during the mid 20th Century. It offers an austere composition, whose effect is far gre...

Known primarily for his work depicting horses, Joseph Piccillo also finds intrigue in the human form. Utilizing a grid format his charcoal and graphite portraits are organized as "ti...

ink and watercolor on paper 42"x42" available framed This vibrant painting utilizes washes of color to abstract the figuration within the composition. Rich strokes of blue...

TOBACCO ROAD Mid 20th Century Realism 1940 Drawing from the Novel WPA Literary 3 10 1/2 x 6 (sight), Signed David Fredenthal lower right. Framed by Lowy. Offered here is one of several original drawings by WPA artist David Fredenthal that were first published in the 1940 illustrated edition of the novel TOBACCO ROAD by Erskine Caldwell. Background on the Drawing Erskine Caldwell remarked, on seeing the work of David Fredenthal, 26-year-old painter: "That boy could draw my Tobacco Road people." A casual comment, it was enormously productive. The young painter was just finishing a two-year Guggenhcim Fellowship, preceded by a year's study in Paris, two one-man shows at New York's Downtown Gallery, and a fellowship at the Cranbrook Academy near Detroit. He was out in Colorado Springs when he heard what Caldwell had said about him. Fredenthal hadn't read Tobacco Road. He had not even seen the play - now breaking all records in its seventh year on Broadway. But he swapped a portrait for a second-hand Ford and headed East. In New York he learned that Dnell, Sloan & Pearce were bringing out a deluxe edition of Tobacco Road. But he had no entrée to the publishers, and Caldwell, to his disappointment, was out of town. So he drove on to Georgia to have a look at the Tobacco Road people. He found Dr. I. C. Caldwell, the author's father, in Wrens, Ga., going on his ministerial rounds among people like the Lesters. Fredenthal got a room from a couple who ran a 1-pump filling station...

Couple / Pair / Lovers / Love / Wedding / Romance / Flowers / Bouquet / Still life Angela A’Court’s narrative and still life drawings use a simple and direct vocabulary to show the ...

An abstract line drawing on white paper in graphite by Olaf Breuning. Mechanical Brain 2008 Graphite on paper 11 x 8.5 inches, sheet $1,875

Trompe l'oeil. [Punch and Judy]. Watercolor and drawing, undated, circa 1830. Paper size 10.25 x 14" (26.1 x 35.6 cm). On "J. Whatman" watermarked paper. Unidentified artist. A 19th-century visual montage of Cruikshank's "Punch & Judy." The images are taken from the book "The Tragical Comedy, or Comical Tragedy of Punch and Judy." As told to John Payne Collier by Giovanni in 1827, illustrated by George Cruikshank and published by S. Prowlett, London 1828. The central circle illustrates a drawing showing two allegorical female figures with two putti. The text under this image: “E Musao Hugonis Howard Armig, from Guercino.” On top of that illustration is a handsome painting of a flintlock pistol. Trompe l’oeil is an art of illustration – the name translates to ‘Trick of the Eye.” The puppet show of Pulcinella or Punch and Judy has a long and fascinating history. “A puppet play that would have featured a version of Punch was first recorded in England in May 1662 by the diarist Samuel Pepys. He noted seeing it in Covent Garden, London, performed by the Italian puppet showman Pietro Gimonde from Bologna, otherwise known as Signor Bologna. The earliest script of a Punch and Judy show...

Amy Londoner Musical Conductor, 1922 Signed and dated lower right Pastel on paper Sight 18 x 23 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...

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...

watercolor, gesso, and gilding on BFK paper. Gold Leaf. Depiction of the Tower Bridge in London. Medieval figures.

ABOUT Stephen Basso Stephen Basso's highly original pastels and oil paintings are romantic, yet thought provoking fantasies. His whimsical works are alive with boundless imaginat...

*ABOUT Stephen Basso Stephen Basso's highly original pastels and oil paintings are romantic, yet thought provoking fantasies. His whimsical works are alive with boundless imagina...

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...

Soft pastel on archival toned paper signed and dated top left. Part of an ongoing series by the artist of artist and model subject matter