Tri-State Area - Drawings and Watercolor Paintings

Puissance is a beautiful and unique charcoal drawing on paper of a dynamic horse. The Fabriano paper is a high quality watercolor grade set in a custom white wood frame, all archival...

This gouache painting by Werner Drewes was created in 1942. Signed with a pen in the lower right. Cypher and date are just under the signature. Painted to the papers edge - the pap...

Study for David and Goliath 1971 Color pastel on paper 10 x 10 inches (25.4 x 25.4 cm) This work is offered by CLAMP in New York City.

Poupee Espagnole. Costume design for the entertainer Mistinguette for her production at the Moulin Rouge in Paris. Watercolor. Signed Zig. Ca 1928, . Framed. Provenance: Nephew of M...

"I make quiet paintings in a noisy world. My work is an intimate meditation on humble objects and the detritus of studio life. I aim to promote a reengagement with the mundane while ...

Ultra vibrant orange version of the Stik Holding Hands print. Issued folded in the Hackney Today newspaper as a special thank you to the residents of Hackney. The color in each paper...

Eve Nethercott, American (1925 - 2015) - Red Flowers (P5.38), Year: 1960, Medium: Watercolor on Paper, Size: 22 x 15 in. (55.88 x 38.1 cm), Description: Held within a small r...

John LaGatta (American 1894-1977), "Untitled: Seated Lady", Signed Figurative Pencil Drawing on Paper, 17.38 x 11.38, Early to Mid 20th Century Colors: Bl...

Eve Nethercott, American (1925 - 2015) - Maine Dock and House (37), Year: 1959, Medium: Double-Sided Watercolor, Size: 11 in. x 15 in. (27.94 cm x 38.1 cm), Description: This d...

Tess Michalik Birfday Cake, 2023 oil on panel 25.5 x 30.25 in. (mic039AP)

Artist: Robert Kautz, Austrian Title: untitled Year: 2001 Medium: Acrylic and Mixed Media on Paper, signed and dated lower right Size: 23.5 in. x 19.5 in....

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

PETER HALLEY 6/21/96.9, 1998 Graphite and ink drawing Hand-signed by artist, signed and dated in graphite lower right front; lower left front bears title: 6/21/96.9 Frame included: elegantly matted and framed in a hand made museum frame with UV plexiglass signed and dated in graphite lower right front; lower left front bears title: 6/21/96.9 This is a unique work Frame included: elegantly floated and framed in a museum quality hand made white wood frame under UV plexiglass Measurements: Framed 16.5 inches vertical by 13 inches horizontal by 1.5 inches Artwork (visible) 10 inches vertical by 8 inches horizontal Peter Halley Biography Peter Halley was born in 1953 in New York. He began his formal training at Phillips Academy in Andover, Massachusetts, from which he graduated in 1971. During that time, Halley read Josef Albers’s Interaction of Color (1981), which would influence him throughout his career. From 1973 to 1974 Halley lived in New Orleans, where he absorbed the vibrant cultural influences of the city, began using commercial materials in his art, and first became acquainted with the writings of earthwork artist Robert Smithson. In 1975 the artist graduated from Yale University, New Haven, with a degree in art history. After Yale, Halley returned to New Orleans, where he received an MFA in painting from the University of New Orleans in 1978. He had his first solo exhibition at the Contemporary Art Center, New Orleans, that same year. In 1978 Halley spent a semester teaching art at the University of Louisiana, Lafayette. He has continued to teach throughout his career. In 1980, Halley moved back to New York and had his first solo exhibition in the city at PS122 Gallery. At this time, Halley was drawn to the pop themes and social issues addressed in New Wave music. Inspired by New York’s intense urban environment, Halley set out to use the language of geometric abstraction to describe the actual geometricized space around him. He also began his iconic use of fluorescent Day-Glo paint. In 1984, Halley started to exhibit with the International With Monument gallery, becoming closely associated with the organization and its artists, who exhibited conceptually rigorous work in a market-savvy, coolly presented space that stood in stark contrast to the bohemian, Neo-Expressionist flair of the East Village art scene at the time. In 1986, an exhibition of four artists from International With Monument at the Sonnabend Gallery in New York heralded the group’s growing success. By the late 1980s, Halley was exhibiting with prominent galleries in the United States and Europe. In 1989, an exhibition of his paintings traveled to the Museum Haus Esters, Krefeld, Germany; Maison de la culture et de la communication de Saint-Étienne, France; and Institute of Contemporary Arts, London. From 1991 to 1992, a retrospective toured Europe, with presentations at the CAPC Musée d’art contemporain de Bordeaux, France; Musée d’art contemporain, Lausanne, Switzerland; Museo nacional centro de arte Reina Sofía, Madrid; and Stedelijk Museum, Amsterdam. In 1992, the Des Moines Art Center hosted his first solo exhibition at a U.S. museum. While developing his visual language, Halley became interested in French post-structuralist writers, including Jean Baudrillard, Guy Debord, Michel Foucault, and Paul Virillio, all of whom shared his concern with the character of social spaces in a post-industrial society. In 1981, he published his first essay “Beat, Minimalism, New Wave, and Robert Smithson” in Arts, a New York–based magazine that would publish eight of his essays before the decade’s end. Halley’s writings became the basis for Neo-Geometric Conceptualism (also known as Neo-Geo), the offshoot of Neo-Conceptualism associated with the work of Ashley Bickerton, Halley, and Jeff Koons. In 1988, the artist’s writings were anthologized in Collected Essays, 1981–1987, and again in 1997 in a second anthology, Recent Essays, 1990–1996. In the mid-1990s, Halley began to produce site-specific installations for museums, galleries, and public spaces. These characteristically brought together a range of imagery and mediums, including paintings, wall-size flowcharts, and digitally generated wallpaper prints. Halley has executed permanent installations at the Dallas/Fort Worth International Airport, Texas, and the Gallatin School of Individualized Study at New York University. In 2011, his installation of digital prints Judgment Day...

Diana Kurz Green Square #14 Gouache on paper 11 x 14 inches Diana Kurz (born 1936) is an Austrian-born feminist painter. In 1938, Diana Kurz's family fled Austria, first to England...

In the 1950s and 60s Grambs worked on many commissions. The symmetrical nature of the drawing suggests it was for a book or magazine project with facing pages -- possibly a cookboo...

Daniel Brice has exhibited throughout the United States including at The Riverside Museum of Art and the University of New Mexico Art Museum. He is a four-time “Artist in Residence” honoree at the Tamarind Institute in New Mexico. His work is in the collections of Allentown Museum, Ohio Wesleyan University, Smith College...

Acrylic and mixed media on paper - Unframed Werfel employs expressive, lyrical gestures that create bursts of movement and energy. Her color choices create a range of tones from the...

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...

Artist: Guillaume Azoulay (1949) Title: Flight Year: 2013 Edition: 1 Medium: Mixed Media (Silkscreen & Gold Leaf) on Archival Paper. Size: 20 x 26.25 inches Condition: Excellent Insc...

Artist: Ian Hornak (1944-2002) Title: Renaissance Male Nude Figure Study Year: circa 1963 Medium: Original drawing on vélin paper Size: 23 x 18 inches Condition: Good Provenance: Est...

Interior design paintings. The work was done with india ink in black and grey color on Yupo paper. The work is 11 by 14 inches in size, framed with a styrene face on a mat board in white with sizes 16 by 20 in. Mila Akopova...

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

Artist: Ian Hornak (1944-2002) Title: Renaissance Male Nude Study Year: circa 1963 Medium: Original drawing on vélin Strathmore paper Size: 18 x 23 inches Condition: Good Provenance:...

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...

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...

Karen Schiff is an artist and wordsmith based in New York; she has always been a reader as well as a visual artist. Her drawings, paintings, installations, and performances combine t...

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...

Interior design paintings. The work was done with alcohol ink in brown, beige color on Yupo paper. The work is 11 by 14 inches in size, framed black with a styrene face on a mat boar...

Interior design paintings. The work is made with alcoholic ink in pale pink, rose color on Yupo paper. It is 11 by 14 inches in size, framed (gold) with styrene face on a double mat...

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 ...

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.

Interior design paintings. The artwork were done with acrylic, ink and watercolor. The work are 11 by 14 inches in size, framed (black) with a styrene face on a mat board in white wi...

This stunning study of George Washington's hands is a unique and remarkable drawing pair. Mora was noted as an exceptional draftsman and actually traveled america giving lectures ab...

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...

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) - 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...

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...

Shape 12 (2019) by Ryan Park of Shapes Only Abstract, nonobjective, gestural, geometric art, acrylic on 300GSM archival paper. Abstract shape innovated by the artist. Neutral pal...

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...

“Paris summer corner” In good condition Stamp of the artist and title are on the back of the picture Measures 18x14 International buyers must cover shipping cost

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 ...

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) - 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...