New York - Landscape Drawings and Watercolors

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

In "Firewood Series No. 3," David Morrison uses colored pencils to capture the finest details of a frayed and peeling piece of birch wood. With his careful and methodical handling of...

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

Pastel on black paper. Ms. Morgan says: When I finally started riding the subway again during Covid isolation - going down to the ocean was a real treat. The collection of fisherma...

Pastel on black paper. Ms. Morgan says: When I finally started riding the subway again during Covid isolation - going down to the ocean was a real treat. The collection of fisherma...

acrylic on archival Canson watercolor paper Mauricio Trenard is an artist, educator and arts activist. He says this series is of great interest to him, as it offers the potential ...

A native New Yorker, Brosen has spent a lifetime wandering its streets, discovering its long history and witnessing its constant metamorphosis. The city is his muse and his primary s...

Provenance Estate of the artist David Bunim Perls Gallery, NY Private Collection, USA Literature This work will be inclued in the forthcoming supplement to the catalogue raisonne in...

Daniel Newman, American (1927 - 1994) - Bare Landscape, Year: circa 1960, Medium: Watercolor on Paper, signed lower right, Size: 11 x 20 in. (27.94 x 50.8 cm)

Italian pen and ink landscape. Antique pen and ink scene of a villa along the river in period gilt frame, Italy, early 19th century. Dimension: ...

Original watercolor on archival paper by the well known Massachusetts artist, John Cuthbert Hare. Signed lower right you the artist. Condition is excellent. The artwork is in its original gold leaf over wood frame. Circa 1950. Under glass. The scene is mostly likely the Cape Cod coast where Hare painted. Overall framed measurements are 16 by 20 inches. Provenance: Massachusetts estate. New England painter John Cuthbert Hare was born in Brooklyn, New York in 1908 and studied commercial art at the Pratt Institute in New York City and later at the Art Students League also in New York City. He also studied at the Grand Central School of Art in New York followed by employment with the Hearst Newspaper Corporation. For a number of years after his marriage in 1933, Hare and his wife traveled throughout the United States and Europe. Hare was a member of the Provincetown Art Colony, Cape Cod, Massachusetts and was to become known as the "Dean of Cape Cod Artists...

Renelio Marin is a visual artist with a diverse range of influences and styles. Born in Cuba, he received his graduate degree from the San Alejandro School of Fine Arts in Havana in ...

Oscar Bluemner was a German and an American, a trained architect who read voraciously in art theory, color theory, and philosophy, a writer of art criticism both in German and English, and, above all, a practicing artist. Bluemner was an intense man, who sought to express and share, through drawing and painting, universal emotional experience. Undergirded by theory, Bluemner chose color and line for his vehicles; but color especially became the focus of his passion. He was neither abstract artist nor realist, but employed the “expressional use of real phenomena” to pursue his ends. (Oscar Bluemner, from unpublished typescript on “Modern Art” for Camera Work, in Bluemner papers, Archives of American Art, Smithsonian Institution, as cited and quoted in Jeffrey R. Hayes, Oscar Bluemner [1991], p. 60. The Bluemner papers in the Archives [hereafter abbreviated as AAA] are the primary source for Bluemner scholars. Jeffrey Hayes read them thoroughly and translated key passages for his doctoral dissertation, Oscar Bluemner: Life, Art, and Theory [University of Maryland, 1982; UMI reprint, 1982], which remains the most comprehensive source on Bluemner. In 1991, Hayes published a monographic study of Bluemner digested from his dissertation and, in 2005, contributed a brief essay to the gallery show at Barbara Mathes, op. cit.. The most recent, accessible, and comprehensive view of Bluemner is the richly illustrated, Barbara Haskell, Oscar Bluemner: A Passion for Color, exhib. cat. [New York: Whitney Museum of American Art, 2005.]) Bluemner was born in the industrial city of Prenzlau, Prussia, the son and grandson of builders and artisans. He followed the family predilection and studied architecture, receiving a traditional and thorough German training. He was a prize-winning student and appeared to be on his way to a successful career when he decided, in 1892, to emigrate to America, drawn perhaps by the prospect of immediate architectural opportunities at the Chicago World’s Fair, but, more importantly, seeking a freedom of expression and an expansiveness that he believed he would find in the New World. The course of Bluemner’s American career proved uneven. He did indeed work as an architect in Chicago, but left there distressed at the formulaic quality of what he was paid to do. Plagued by periods of unemployment, he lived variously in Chicago, New York, and Boston. At one especially low point, he pawned his coat and drafting tools and lived in a Bowery flophouse, selling calendars on the streets of New York and begging for stale bread. In Boston, he almost decided to return home to Germany, but was deterred partly because he could not afford the fare for passage. He changed plans and direction again, heading for Chicago, where he married Lina Schumm, a second-generation German-American from Wisconsin. Their first child, Paul Robert, was born in 1897. In 1899, Bluemner became an American citizen. They moved to New York City where, until 1912, Bluemner worked as an architect and draftsman to support his family, which also included a daughter, Ella Vera, born in 1903. All the while, Oscar Bluemner was attracted to the freer possibilities of art. He spent weekends roaming Manhattan’s rural margins, visiting the Bronx, Brooklyn, Queens, and New Jersey, sketching landscapes in hundreds of small conté crayon drawings. Unlike so many city-based artists, Bluemner did not venture out in search of pristine countryside or unspoiled nature. As he wrote in 1932, in an unsuccessful application for a Guggenheim Fellowship, “I prefer the intimate landscape of our common surroundings, where town and country mingle. For we are in the habit to carry into them our feelings of pain and pleasure, our moods” (as quoted by Joyce E. Brodsky in “Oscar Bluemner in Black and White,” p. 4, in Bulletin 1977, I, no. 5, The William Benton Museum of Art, Storrs, Connecticut). By 1911, Bluemner had found a powerful muse in a series of old industrial towns, mostly in New Jersey, strung along the route of the Morris Canal. While he educated himself at museums and art galleries, Bluemner entered numerous architectural competitions. In 1903, in partnership with Michael Garven, he designed a new courthouse for Bronx County. Garven, who had ties to Tammany Hall, attempted to exclude Bluemner from financial or artistic credit, but Bluemner promptly sued, and, finally, in 1911, after numerous appeals, won a $7,000 judgment. Barbara Haskell’s recent catalogue reveals more details of Bluemner’s architectural career than have previously been known. Bluemner the architect was also married with a wife and two children. He took what work he could get and had little pride in what he produced, a galling situation for a passionate idealist, and the undoubted explanation for why he later destroyed the bulk of his records for these years. Beginning in 1907, Bluemner maintained a diary, his “Own Principles of Painting,” where he refined his ideas and incorporated insights from his extensive reading in philosophy and criticism both in English and German to create a theoretical basis for his art. Sometime between 1908 and 1910, Bluemner’s life as an artist was transformed by his encounter with the German-educated Alfred Stieglitz, proprietor of the Little Galleries of the Photo-Secession at 291 Fifth Avenue. The two men were kindred Teutonic souls. Bluemner met Stieglitz at about the time that Stieglitz was shifting his serious attention away from photography and toward contemporary art in a modernist idiom. Stieglitz encouraged and presided over Bluemner’s transition from architect to painter. During the same period elements of Bluemner’s study of art began to coalesce into a personal vision. A Van Gogh show in 1908 convinced Bluemner that color could be liberated from the constraints of naturalism. In 1911, Bluemner visited a Cézanne watercolor show at Stieglitz’s gallery and saw, in Cézanne’s formal experiments, a path for uniting Van Gogh’s expressionist use of color with a reality-based but non-objective language of form. A definitive change of course in Bluemner’s professional life came in 1912. Ironically, it was the proceeds from his successful suit to gain credit for his architectural work that enabled Bluemner to commit to painting as a profession. Dividing the judgment money to provide for the adequate support of his wife and two children, he took what remained and financed a trip to Europe. Bluemner traveled across the Continent and England, seeing as much art as possible along the way, and always working at a feverish pace. He took some of his already-completed work with him on his European trip, and arranged his first-ever solo exhibitions in Berlin, Leipzig, and Elberfeld, Germany. After Bluemner returned from his study trip, he was a painter, and would henceforth return to drafting only as a last-ditch expedient to support his family when his art failed to generate sufficient income. Bluemner became part of the circle of Stieglitz artists at “291,” a group which included Marsden Hartley, John Marin, and Arthur Dove. He returned to New York in time to show five paintings at the 1913 Armory Show and began, as well, to publish critical and theoretical essays in Stieglitz’s journal, Camera Work. In its pages he cogently defended the Armory Show against the onslaught of conservative attacks. In 1915, under Stieglitz’s auspices, Bluemner had his first American one-man show at “291.” Bluemner’s work offers an interesting contrast with that of another Stieglitz architect-turned-artist, John Marin, who also had New Jersey connections. The years after 1914 were increasingly uncomfortable. Bluemner remained, all of his life, proud of his German cultural legacy, contributing regularly to German language journals and newspapers in this country. The anti-German sentiment, indeed mania, before and during World War I, made life difficult for the artist and his family. It is impossible to escape the political agenda in Charles Caffin’s critique of Bluemner’s 1915 show. Caffin found in Bluemner’s precise and earnest explorations of form, “drilled, regimented, coerced . . . formations . . . utterly alien to the American idea of democracy” (New York American, reprinted in Camera Work, no. 48 [Oct. 1916], as quoted in Hayes, 1991, p. 71). In 1916, seeking a change of scene, more freedom to paint, and lower expenses, Bluemner moved his family to New Jersey, familiar terrain from his earlier sketching and painting. During the ten years they lived in New Jersey, the Bluemner family moved around the state, usually, but not always, one step ahead of the rent collector. In 1917, Stieglitz closed “291” and did not reestablish a Manhattan gallery until 1925. In the interim, Bluemner developed relationships with other dealers and with patrons. Throughout his career he drew support and encouragement from art cognoscenti who recognized his talent and the high quality of his work. Unfortunately, that did not pay the bills. Chronic shortfalls were aggravated by Bluemner’s inability to sustain supportive relationships. He was a difficult man, eternally bitter at the gap between the ideal and the real. Hard on himself and hard on those around him, he ultimately always found a reason to bite the hand that fed him. Bluemner never achieved financial stability. He left New Jersey in 1926, after the death of his beloved wife, and settled in South Braintree, Massachusetts, outside of Boston, where he continued to paint until his own death in 1938. As late as 1934 and again in 1936, he worked for New Deal art programs designed to support struggling artists. Bluemner held popular taste and mass culture in contempt, and there was certainly no room in his quasi-religious approach to art for accommodation to any perceived commercial advantage. His German background was also problematic, not only for its political disadvantages, but because, in a world where art is understood in terms of national styles, Bluemner was sui generis, and, to this day, lacks a comfortable context. In 1933, Bluemner adopted Florianus (definitively revising his birth names, Friedrich Julius Oskar) as his middle name and incorporated it into his signature, to present “a Latin version of his own surname that he believed reinforced his career-long effort to translate ordinary perceptions into the more timeless and universal languages of art” (Hayes 1982, p. 189 n. 1). In 1939, critic Paul Rosenfeld, a friend and member of the Stieglitz circle, responding to the difficulty in categorizing Bluemner, perceptively located him among “the ranks of the pre-Nazi German moderns” (Hayes 1991, p. 41). Bluemner was powerfully influenced in his career by the intellectual heritage of two towering figures of nineteenth-century German culture, Johann Wolfgang von Goethe and Georg Wilhelm Friedrich Hegel. A keen student of color theory, Bluemner gave pride of place to the formulations of Goethe, who equated specific colors with emotional properties. In a November 19, 1915, interview in the German-language newspaper, New Yorker Staats-Zeitung (Abendblatt), he stated: I comprehend the visible world . . . abstract the primary-artistic . . . and after these elements of realty are extracted and analyzed, I reconstruct a new free creation that still resembles the original, but also . . . becomes an objectification of the abstract idea of beauty. The first—and most conspicuous mark of this creation is . . . colors which accord with the character of things, the locality . . . [and which] like the colors of Cranach, van der Weyden, or Durer, are of absolute purity, breadth, and luminosity. . . . I proceed from the psychological use of color by the Old Masters . . . [in which] we immediately recognize colors as carriers of “sorrow and joy” in Goethe’s sense, or as signs of human relationship. . . . Upon this color symbolism rests the beauty as well as the expressiveness, of earlier sacred paintings. Above all, I recognize myself as a contributor to the new German theory of light and color, which expands Goethe’s law of color through modern scientific means (as quoted in Hayes 1991, p. 71). Hayes has traced the global extent of Bluemner’s intellectual indebtedness to Hegel (1991, pp. 36–37). More specifically, Bluemner made visual, in his art, the Hegelian world view, in the thesis and antithesis of the straight line and the curve, the red and the green, the vertical and the horizontal, the agitation and the calm. Bluemner respected all of these elements equally, painting and drawing the tension and dynamic of the dialectic and seeking ultimate reconciliation in a final visual synthesis. Bluemner was a keen student of art, past and present, looking, dissecting, and digesting all that he saw. He found precedents for his non-naturalist use of brilliant-hued color not only in the work Van Gogh and Cezanne, but also in Gauguin, the Nabis, and the Symbolists, as well as among his contemporaries, the young Germans of Der Blaue Reiter. Bluemner was accustomed to working to the absolute standard of precision required of the architectural draftsman, who adjusts a design many times until its reality incorporates both practical imperatives and aesthetic intentions. Hayes describes Bluemner’s working method, explaining how the artist produced multiple images playing on the same theme—in sketch form, in charcoal, and in watercolor, leading to the oil works that express the ultimate completion of his process (Hayes, 1982, pp. 156–61, including relevant footnotes). Because of Bluemner’s working method, driven not only by visual considerations but also by theoretical constructs, his watercolor and charcoal studies have a unique integrity. They are not, as is sometimes the case with other artists, rough preparatory sketches. They stand on their own, unfinished only in the sense of not finally achieving Bluemner’s carefully considered purpose. The present charcoal drawing is one of a series of images that take as their starting point the Morris Canal as it passed through Rockaway, New Jersey. The Morris Canal industrial towns that Bluemner chose as the points of departure for his early artistic explorations in oil included Paterson with its silk mills (which recalled the mills in the artist’s childhood home in Elberfeld), the port city of Hoboken, Newark, and, more curiously, a series of iron ore mining and refining towns, in the north central part of the state that pre-dated the Canal, harkening back to the era of the Revolutionary War. The Rockaway theme was among the original group of oil paintings that Bluemner painted in six productive months from July through December 1911 and took with him to Europe in 1912. In his painting journal, Bluemner called this work Morris Canal at Rockaway N.J. (AAA, reel 339, frames 150 and 667, Hayes, 1982, pp. 116–17), and exhibited it at the Galerie Fritz Gurlitt in Berlin in 1912 as Rockaway N. J. Alter Kanal. After his return, Bluemner scraped down and reworked these canvases. The Rockaway picture survives today, revised between 1914 and 1922, as Old Canal, Red and Blue (Rockaway River) in the collection of the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington D. C. (color illus. in Haskell, fig. 48, p. 65). For Bluemner, the charcoal expression of his artistic vision was a critical step in composition. It represented his own adaptation of Arthur Wesley’s Dow’s (1857–1922) description of a Japanese...

Contemporary artist Thomas Roese, inspired by the industrial landscape of steel mills, rail yards, architectural details, and urban neighborhoods surrounding him, created a series of...

Unexpected materials, found and manufactured, perch precariously on torn edges and bifurcated sheets of large paper. Here, fluid calligraphic lines are posed against the veracity of ...

Purple Haze (Glyph), 2012 ink, watercolor, colored pencil, marker ink and fluid ink on synthetic paper 25 x 38 inches / 635 x 965 mm Christina McPhee’s expansive abstract paintings, drawings, photographs, and videos test or query how can we know, and who is we? Moving from within a matrix of measurement, observation and contingent effects, her work resists characterization as product, and continually accesses fields outside itself. For her, process equals trial. Her work emulates potential forms of life, in various systems and territories, from a perspective of the non-self– a world beyond identity. McPhee’s dynamic, performative, physical engagement with materials, in both her analogue and digital works, is a seduction into surface-skidding calligraphic gestures and mark-making. The tactics of living are in subterfuge, like the ‘dazzle ships...

Black Sky (The Cave Series), 2, 2015 graphite on paper 77 x 112 cm

Signed and dated (at lower right): BROSEN '23 A native New Yorker, Brosen has spent a lifetime wandering its streets, discovering its long history and witnessing its constant metamo...

Sonja Shomekaer is an artist and designer based in California. She creates large-scale drawings on paper that incorporate iconography of natural life. Here, Sonja weaves in an out of...

This watercolor painting by Thomas Broadbent depicts Apollo 11 Lunar Module on the Moon. On July 20 at 4:18 p.m. EDT, the Lunar Module touched down on th...

John Whorf captures one of the thrilling moments of fishing in this watercolor – when the fish is on the line, but still trying to escape. One of the fastest fish in the world, marlin fishing...

In "Chance" Albany based artist, Ken Ragsdale has created a visual conversation which references a historical lithograph of Albany, New York made by J. W. Hill in the 1850's. This w...

Barnett, a surrealist artist incorporates discarded mechanical objects and gadgets into his artwork. His work is characterized by its unique and eclectic mix of materials, which rang...

Flower Moon 1:40pm is a watercolor work on paper by Cynthia MacCollum. This original artwork is 12x9 on archival paper. It is currently framed to 14 x 11. It was part of a 2020 series based on images captured during the 13 Moons of the year. It is a one of a kind botanical artwork...

Atsuko Honda (b.1984, Osaka) utilizes traditional techniques and methods that are increasingly rare among 21st-century practitioners. Honda has been focusing on printmaking since 200...

Original watercolor by Edward Lamson Henry looking back at barge travel through small New York state towns. Delaware & Hudson Canal, Ellenville N...

Horizon pastel on paper 6 x 6inches 12 x 12 inches 2023

Radiance pastel on paper 6 x 6inches 12 x 12 inches 2023

Cloudburst pastel on paper 6 x 6inches 12 x 12 inches framed 2023

Painted en plein air. Frame Dimensions: 9 x 15in Artist Bio: Nelson H. White was born in New London, Connecticut in 1932. White has been surrounded by art and artists from the time he was born. He received his earliest art instruction from his grandfather, Henry Cooke White (1861-1952) and his father Nelson Cooke White (1900-1989), both important American artists. The family lived in Waterford, Connecticut and the elder White had been an early member of the art colony in Old Lyme, Connecticut. Known for his paintings of the Connecticut landscape and shoreline, Henry Cooke White became a teacher to his son, Nelson Cooke White. Living with his parents at the Florence Griswold house in Old Lyme, he met some of the most important and influential artists of the day, Childe Hassam, Will Howe Foote and Harry Hoffman. Later, Nelson White's father began to take his family to summer on Shelter Island and became friendly with many of the artists of the Peconic colony such as Irving Wiles, an important American impressionist. After graduating from the Tabor Academy in Marion, Massachusetts in 1951, Nelson H. White began to study at Mitchell College in Connecticut but left to pursue studies in the violin, musical theory and composition. At this time, he began to spend more time studying art with his father and grandfather. By 1955, Nelson H. White had decided to devote himself to a career as a painter and traveled to Florence, Italy to become an apprentice to Pietro Annigoni, the world-renowned Florentine master. Within two years, the young White had won two awards for his work. While in Florence he also studied with the great Italian teacher, Nerina Simi. Today, White divides his time between the United States and Florence. White is still actively involved with studies at The Florence Academy of Art in Florence, Italy. Although he has received instruction from some very important artists, White's work is highly individual. He paints with great spirit...

Awards 2013 Loring W. Coleman Award for Watercolor/ Allied Artists of America, 100th Annual Exhibition at the National Arts Club 2011 Mary Bryan Memorial Medal / Allied Artis...

Flower Moon 2:30pm is a watercolor work on paper by Cynthia MacCollum. This original artwork is 12x9 on archival paper. It is currently framed to 14 x 11. It was part of a 2020 series based on images captured during the 13 Moons of the year. It is a one of a kind botanical artwork...

The eerie timeless Flat Iron building stands silhouetted against a winter sky one day in NYC. Tom was struck by the severe geometry of an historic b...

Focused on wildflowers spotted along rural roads in his native Minnesota, these paintings capture the delicate beauty of these native flowers against deep magenta backgrounds. Rangin...

Eve Nethercott Title: Cape Elizabeth, Portland (P6.5) Date: 1951 Medium: Watercolor on paper Paper Size: 18 x 24 inches

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...

Artist: Don Davis Title: Palm Tree Medium: Watercolor on paper Image Size: 23.5 x 17.5 inches Frame Size: 30.75 x 24.75 inches In a classic example of nature vs. the city, a Palm sh...

Charcoal on paper drawing by Toronto-based artist Katherine Curci. Unframed. Katherine Curci began this series of charcoal drawings, premiered in This...

Awards 2013 Loring W. Coleman Award for Watercolor/ Allied Artists of America, 100th Annual Exhibition at the National Arts Club 2011 Mary Bryan Memorial Medal / Allied Artis...

Kathleen Beausoleil lives and works in Fair Haven, NJ. Primarily working in oil paint, her works focus on what it means to be a social being. Beausoleil received a 2022 Fellowship fr...

Awards 2013 Loring W. Coleman Award for Watercolor/ Allied Artists of America, 100th Annual Exhibition at the National Arts Club 2011 Mary Bryan Memorial Medal / Allied Artis...

Awards 2013 Loring W. Coleman Award for Watercolor/ Allied Artists of America, 100th Annual Exhibition at the National Arts Club 2011 Mary Bryan Memorial Medal / Allied Artis...

Emile Antoine Verpilleux, 1888-1964 York, 1920 Original woodcut, printed in colors 14 x 18 inches Signed in pencil

Signed and dated "Allen Tucker 1930" lower left. Artwork measures 14" x 11 ¾" and framed 19" x 16 ½" x 2 ¼". Provenance: Gift from the artist to his friend Una Brage, USA/Switzerland, in the 1930s Estate of Ms. Brage to her friend Jean Corbett Peck, daughter of architect Harvey Wiley Corbett By descent About this artist: Allen Tucker, was an architect and painter so influenced by Vincent Van Gogh that he was called "Vincent in America". (Gerdts 291) Robert Henri and Maurice Prendergast were also credited as having an influence on Tucker's brushwork and compositions, the latter decisively. However, as his painting evolved, he did not fit into any tidy slot for description and was known as an individualist not easily categorized in American art history. Tucker was born in Brooklyn in 1866 and graduated from the School of Mines of Columbia University with a degree in architecture and took a job as an architectural draftsman in the architectural firm of McIvaine and Tucker, his fathers business. During that time, he studied painting at the Art Students League with Impressionist John H. Twachtman, but it was not until around 1904, when he was 38, that Tucker became a full-time painter, leaving architecture behind. Many of his early canvases were classically Impressionistic with poplar trees resembling those of Van Gogh and haystacks and corn shocks...

Yen Ha is an architect, artist and writer. Born in Saigon, she lives in New York City. Ha has been awarded residencies by the Banff Centre for Arts and Creativi...

Alice Kent Stoddard 1885-1976 Sledders (circa 1950-1960) Black chalk on card Image Dimensions: 19.75 x 16 inches (50.2 x 40.6 cm) Framed Dimensions: 26.5 x 22.3 inches Signed lower right: Alice Kent Stoddard Alice Kent Stoddard was born in Connecticut, but spent much of her career as an artist in Philadelphia and on Monhegan Island in Maine. She studied with Thomas Eakins, William Merritt Chase and Thomas Anshutz at the Pennsylvania Academy of Fine Arts, as well as at the Philadelphia School of Design for Women. While serving with the YMCA in France during World War I, Stoddard executed many drawings and paintings of the battlefield. However, she is most widely recognized for her bold landscapes and marine paintings of Maine...

Arbol I is the first of the 13 pieces from the series "Serie de Arboles" by Guillermo Araujo. Home decor with themes of trees and nature. Guillermo ...

Even though recognizable as trees, the artist considers the birch works to be process-oriented abstractions. "I am interested in the interplay between the abstract markings and the s...

Edition of 30 + 10AP Print unusual vertical diptych by master printer Agnes Murray

Unique, monoprint

Pastel on black paper. Ms. Morgan says: When I finally started riding the subway again during Covid isolation - going down to the ocean was a real treat. The collection of fisherma...

Pastel on black paper. Ms. Morgan says: When I finally started riding the subway again during Covid isolation - going down to the ocean was a real treat. The collection of fisherm...

mixed media on mylar Among the best selling works by Audrey Frank Anastasi are the birch trees, "process-oriented works, drawn and painted in various media. According to Ms. Anast...

acrylic on archival Canson watercolor paper Mauricio Trenard is an artist, educator and arts activist. He says this series is of great interest to him, as it offers the potential ...

acrylic on archival Canson watercolor paper Mauricio Trenard is an artist, educator and arts activist. He says this series is of great interest to him, as it offers the potential ...

An homage to cannabis and weed culture, Mary Reilly works with both powdered graphite and graphite pencil on paper in her photorealist drawing, "The Crew." The artist memorializes tr...

Renelio Marin Waves, 2018 28 x 39.5 in Watercolor Renelio Marin's watercolor waves geometric abstract waves make any room pop! This original watercolor painting and drawing is 28 x ...

"Plato Crater" watercolor on paper 47.5"x27" Signed on reverse by the artist. This large-scale watercolor on paper depicts the lunar surface of the moon in a greyscale with deep sha...