Tri-State Area - Figurative Drawings and Watercolors

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)

"Feel the Beat" is a dynamic artwork features three figures caught in a moment of rhythmic movement, exuding an ethereal energy. Each figure is rendered in a monochromatic palette, e...

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. ...

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

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

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

Origional soft pastel on toned paper signed and dated on bottom. Suitable for framing under glass..

Richly painted work on archival paper - abstracted nudes

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.

Study For Tyvek (2019) by Francesca Reyes Graphite on textured archival paper black and white drawing Architecture study, truck, house, building under construction Study / Drawing /...

It Could Fall Down (2019) by Francesca Reyes Gouache on paper painting, landscape, cityscape, skyscape, sky, yard, urban scene, architecture, buildings Study / Figurative Art / City...

ink drawing on paper blind contour drawing artists self-portrait

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

Sam Norkin's original illustration for COUNTERATTACK, 1943, featuring Morris Carnovsky; ink on paper, dimensions: 19 ¾” x 15 ½”. Unframed. Samuel Norkin (1917-2011) was a Brooklyn, New York-born cartoonist who specialized in theatre caricatures for more than seven decades. His drawings of theatre, opera, ballet and film celebrities appeared in Variety, Backstage, The Philadelphia Enquirer, The Washington Post, Los Angeles Times, The Boston Globe and many other publications. Norkin learned composition and anatomy from the muralist Mordi Gassner...

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

Paper charcoal printed matter

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...

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

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...

Henri Edmond Cross Woman sitting, ca. 1910 Pencil on paper 5 1/10 × 3 9/10 in l 13 × 10 cm Frame included - 9 x 7 in l 23 x 18 cm Stamped 'HEC' lower right Condition: Excellent cond...

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

Watercolor on cold press paper Tongue in cheek text reading "Drug Dealer Parking Only" and "Unauthorized Vehicles Will Be Towed Away" on street sign in deep red - burgundy and white and off white to give impression of aging and weathering, with image of tow truck...

Watchmaker is an original Ink and Watercolor Pencil drawing on paper. It is 16x24, unframed. Krzysztof Pastuszka is an interdisciplinary artist who spans sculpture, drawing, engineering, and computer design. Much of his work focuses on the complexity and tension in transition/transitioning, giving voice to his experience growing up as a trans kid in the late 90s -2000s. His process consists of idea generation and the testing and creation of prototypes to generate a multitude of parts. He focuses on mechanical movement and the interplay between parts to visualize the intricacies of change and focus on the necessity of each component's ability to cooperate with another and create movement. He uses motion as a way to expose all the micro-operations and mental acrobatics involved in navigating and rejecting the unchanging nature of cisnormativity. He combines his array of skills to envision and compose an elaborate trail of blueprints archiving the hidden and unseen essence of his trans experience--building documentation that didn't exist in his childhood. His current body of work consists of multiple assemblies within one mechanical sculpture...

Explorer is Ink and Watercolor Pencil on paper, 24x16 framed to 30x22 Krzysztof Pastuszka is a dynamic artist and graduate of School of Visual Arts. He currently lives in Brooklyn. ...

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

This beautiful intricate, Rotring pen and markers on paper, on 350gsm Colorset white paper. This piece is framed on a white wood frame, uv glass and all archival materials. GUILLAUM...

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...

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 ...

"Chemistry 1," 2019. Acrylic on paper. Chemistry set, cartoon, offset, sign painting, orange, blue, green, pink, neon, black, and white. ...

"Swans," 2013. Found materials collage. Figurative, abstract, pattern, swans, yellow, orange, red, purple, black, blue, and white.

"Pump," 2017. Acrylic on paper. Figurative, high heel, sign painting, yellow, teal, blue, black, and white.

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

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...

China marker on smooth bristol paper. Jay Golding’s realistic portrait and figure drawings/paintings are inspired primarily by Indigenous culture and heritage but are not limited to...

China marker on smooth bristol paper. Jay Golding’s realistic portrait and figure drawings/paintings are inspired primarily by Indigenous culture and heritage but are not limited to...

China marker on smooth bristol paper. Jay Golding’s realistic portrait and figure drawings/paintings are inspired primarily by Indigenous culture and heritage but are not limited to...

China marker on smooth bristol paper. Jay Golding’s realistic portrait and figure drawings/paintings are inspired primarily by Indigenous culture and heritage but are not limited to...

China marker on smooth bristol paper. Jay Golding’s realistic portrait and figure drawings/paintings are inspired primarily by Indigenous culture and heritage but are not limited to...

China marker on smooth bristol paper. Jay Golding’s realistic portrait and figure drawings/paintings are inspired primarily by Indigenous culture and heritage but are not limited to...

China marker on smooth bristol paper. Jay Golding’s realistic portrait and figure drawings/paintings are inspired primarily by Indigenous culture and heritage but are not limited to...

China marker on smooth bristol paper. Jay Golding’s realistic portrait and figure drawings/paintings are inspired primarily by Indigenous culture and heritage but are not limited to...

China marker on smooth bristol paper. Jay Golding’s realistic portrait and figure drawings/paintings are inspired primarily by Indigenous culture and heritage but are not limited to...

China marker on smooth bristol paper. Jay Golding’s realistic portrait and figure drawings/paintings are inspired primarily by Indigenous culture and heritage but are not limited to...

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...

Soft pastel on toned heavyweight paper signed and dated bottom. Part of an ongoing series by the artist depicting humans and birds and various other creatures.

19th Century large Thangka depicting Buddha. Framed.

This is a pastel painting done on toned archival paper. The title is taken from an old food network show. The artists sardonic humor is well illustrated in this work. A truly one of ...

Soft pastel on archival toned paper signed and dated bottom right corner. Mounted on archival foam board for suitable framing. Part on an ongoing series of Mermaids by the artist.

Arnold Rönnebeck, 1885 – 1947 I’m a Little Blackbird..., c. 1924 Graphite on paper Estate stamp

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...

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

*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...

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 black and white monotypes, blending surrealistic mindscapes with stark realism About Tom Bennett: With quick brushstrokes, Tom Bennett creates representational images of human figures and animals, emphasizing movement in a manner reminiscent of Lucien Freud, Edgar Degas and the photographer Eadweard Muybridge. Elongated and blurry, the horse racing up a hill (Canter Fritz, 2002) and the sinister cat landing a leap (Chien Blanc, 1998) elicit a sense of foreboding enhanced by Bennett’s somber palette; his female figures too reflect a grim sense of humor with their distorted nude bodies. The face of Untitled Figure (1997), for example, is obscured by layers of dark paint. Classically trained as a painter, he initially worked in oil on canvas but discovered that monotype printing enabled him to “literally push the image around,” creating an essential element of motion. To overcome the limited scale of monotypes, however, he switched to painting on slick-surfaced plastic. Tom Bennett’s practice is rooted in the classical tradition where painting and drawing from life is highly regarded. Bennett’s work is heavily influenced by Francis Bacon, Frank Auberbauch and foremost his father, Harry Bennett, who was also an artist. Tom’s time living abroad in Spain and traveling through Eastern Europe and Africa provided the artistic freedom to explore many of the techniques and subject matter that continue to define his practice. Bennett was born and raised in Connecticut. His mediums include monotypes, oil on paper, canvas or styrene board. In a technique that Tom started over 4 years ago, several of his monotypes have been painted over with oil paint using a palette knife, brush, or his fingers to re-purpose the underlying image. These works are a testament to Bennett’s ability to quickly and concisely compose an image with expressive brush strokes, foreshortened figures and expertly rendered light. Tom’s work has been featured in group and solo exhibitions worldwide. Bennett lives and works in Brooklyn, New York. He is currently represented by Tabla Rasa...

Etching and watercolor, ideal for special gift

RINY artists Audrey Anastasi and C.Dimitri collaborated to create contemporary collage works. Born of the Covid pandemic, the team started working remotely, mailing artwork to each ...

Ayse Wilson is a Turkish-American artist who lives and lives and works in Connecticut. Her work draws from memory and emotion to remind viewers of youth, innocence and the timeless space we occupy when we are young. She creates lively and childlike characters, finding inspiration in the works of early Italian Renaissance masters such as Fra Angelico. Wilson graduated from Wellesley College in 1991, and pursued her education in Florence. She received her MFA at New York Academy of Art, and later worked as a painting assistant to Jeff Koons for two years. This current series employs the toile wallpaper samples that the artist had lying around her house during lockdown as a backdrop for ambiguous and complicated feelings toward quarantine and domestic confinement. In this work, she is hoping to narrate how fear of the pandemic unknown, coupled with household anxieties, and increased self-awareness contributed to the mixed emotions of security and hostility towards enforced domesticity within a masked world. The toile tradition represented a coincidental parallel with the COVID era rediscovery of old-fashioned pastoral lifestyles, and the embrace of self-reliant artisanal practices like cooking, gardening, sewing, and prescribed homeschooling. Her colorful inscriptions, some original, some appropriated, layer in our contemporary lifestyle, our modern methods of connectivity as well as our high-tech world. The punky playfulness of the neon and fluorescents contrasts with the backdrop of Fragonard-esque imagery and hopes to delivery her messages of love and connection, awareness and newness, hope and emotions, as well as the occasional glossily veiled hostility expressed in certain so-called “love” declarations. The phrases evolved from a previous series addressing the Me Too movement...