USA - Drawings and Watercolor Paintings

This large scale pastel on toned archival paper is suitable for framing under glass to protect the soft pastel medium . It is signed and dated on the bottom left corner. The subject ...

Original Watercolor "Portrait of a Child in a White Dress" After Mary Cassatt C.1890 Gorgeous original painting by mystery artist. The painting is fain...

Christopher Ganz Basilica di San Marco, Venezia, 2020 white ink, chalk & colored pencil on paper 12h x 18w in 30.48h x 45.72w cm CG0079 -ARTIST STATEMENT- ...

Balancing Act 3 (Abstract Painting) Gouache, graphite and ink on Rives paper. Unframed. Balancing Act 3 is part of a series of works on paper started in 2016. They are created in the evenings and aptly named after busy days of teaching and other responsibilities. The artist establishes parameters involving the use of a particular palette, certain mark-making gestures and amount of time spent on each drawing. This work incorporates graphite, ink, and gouache, and is a combination of intuition-based and planned execution. Tracey Adams is an American abstract painter and printmaker. Her artworks reflect a strong interest in musical patterns, rhythms, lyrical compositional elements and what she calls a sense of performance. She lives and works in Carmel, California. Work by Adams is part of the permanent collections of several museums, including the Bakersfield Art Museum, the Monterey Museum of Art, the Fresno Art Museum, the Tucson Art...

"Harry has no interest in mundane pleasures." Enter the mind of a mid-century American/ Canadian Artist. The theme of Artist and Model has been used for centuries but Richard Taylor ( R. Taylor ) clearly has his own humorous style. The Taylor girl is easily recognizable with oversized heavy-lidded oval eyes and curvaceous body shapes. Taylor is in the Charles Addams...

Signed twice, lower right, 'Muriel Backman' (American, 1902-1996); additionally signed verso, titled 'Main Street, Port Costa' and dated May, 1968. Muriel ...

SHOULD I STAY IN or GO OUT? is an original oil pastel drawing on brown paper grocery bag by the self taught African American artist Reginald K. Gee, born April 28, 1964, in Milwaukee...

Signed lower right, "Johnston" and dated 1981. Bearing exhibition label from 17th Pacific Grove Annual Watercolor Competition. A vibrant Modernist watercolor brimming with color and compressed energy. Born in California on May 26, 1907, Lucille Johnston settled in Glendale in the 1930's. She exhibited widely including at the California Watercolor...

John Cuthbert Hare was an accomplished New England painter born in Brooklyn, New York. He began his artistic journey by studying commercial art at the Pratt Institute in New York Cit...

The Paths series was born out of a trip I took one summer to LA. The trip itself was more of an escape from my life in New York. At the time I was at a crossroads. Having just gone t...

An exquisitely rendered drawing of a dancer in a moment of pause. What I like best about this drawing is its lack of the usual glamour associated with pictures of ballet dancers. To ...

Delve into the serene beauty of a French countryside landscape through the artist Didier's watercolor masterpiece. This original piece, steeped in the impressionist style, captures t...

Lee Hall (1934-), Connecticut Summer Fragments, a portfolio of watercolor, 29 in all, each about 5 ¼ x 7 ¼ inches, on hand made paper attached to a backing, i...

Artist: Roberto Estopiñan, Cuban (1921 - 2015) Title: Homenaje de Camilla Claudel 1 Year: 1992 Medium: Conte Crayon and Pencil Drawing on Alcantara h...

Estate stamp, verso, for Victor Di Gesu (American, 1914-1988) and painted circa 1955. An elegant figural interior showing a young woman seated on a bed beside a table bearing a vase...

With his hands on his hips and a look of contemplation, Bemelmans, with a few lines, captures the essence of a top Chef. This is not a portrait of a specific individual but more of a...

Max Kuehne (1880 - 1968) Train Station, circa 1910 Watercolor on paper 8 1/4 x 10 1/4 inches Signed lower right Provenance: Private Collection, Illinois Max Kuehne was born in Halle, Germany on November 7, 1880. During his adolescence the family immigrated to America and settled in Flushing, New York. As a young man, Max was active in rowing events, bicycle racing, swimming and sailing. After experimenting with various occupations, Kuehne decided to study art, which led him to William Merritt Chase's famous school in New York; he was trained by Chase himself, then by Kenneth Hayes Miller. Chase was at the peak of his career, and his portraits were especially in demand. Kuehne would have profited from Chase's invaluable lessons in technique, as well as his inspirational personality. Miller, only four years older than Kuehne, was another of the many artists to benefit from Chase's teachings. Even though Miller still would have been under the spell of Chase upon Kuehne's arrival, he was already experimenting with an aestheticism that went beyond Chase's realism and virtuosity of the brush. Later Miller developed a style dependent upon volumetric figures that recall Italian Renaissance prototypes. Kuehne moved from Miller to Robert Henri in 1909. Rockwell Kent, who also studied under Chase, Miller, and Henri, expressed what he felt were their respective contributions: "As Chase had taught us to use our eyes, and Henri to enlist our hearts, Miller called on us to use our heads." (Rockwell Kent, It's Me O Lord: The Autobiography of Rockwell Kent. New York: Dodd, Mead and Co., 1955, p. 83). Henri prompted Kuehne to search out the unvarnished realities of urban living; a notable portion of Henri's stylistic formula was incorporated into his work. Having received such a thorough foundation in art, Kuehne spent a year in Europe's major art museums to study techniques of the old masters. His son Richard named Ernest Lawson as one of Max Kuehne's European traveling companions. In 1911 Kuehne moved to New York where he maintained a studio and painted everyday scenes around him, using the rather Manet-like, dark palette of Henri. A trip to Gloucester during the following summer engendered a brighter palette. In the words of Gallatin (1924, p. 60), during that summer Kuehne "executed some of his most successful pictures, paintings full of sunlight . . . revealing the fact that he was becoming a colorist of considerable distinction." Kuehne was away in England the year of the Armory Show (1913), where he worked on powerful, painterly seascapes on the rocky shores of Cornwall. Possibly inspired by Henri - who had discovered Madrid in 1900 then took classes there in 1906, 1908 and 1912 - Kuehne visited Spain in 1914; in all, he would spend three years there, maintaining a studio in Granada. He developed his own impressionism and a greater simplicity while in Spain, under the influence of the brilliant Mediterranean light. George Bellows convinced Kuehne to spend the summer of 1919 in Rockport, Maine (near Camden). The influence of Bellows was more than casual; he would have intensified Kuehne's commitment to paint life "in the raw" around him. After another brief trip to Spain in 1920, Kuehne went to the other Rockport (Cape Ann, Massachusetts) where he was accepted as a member of the vigorous art colony, spearheaded by Aldro T. Hibbard. Rockport's picturesque ambiance fulfilled the needs of an artist-sailor: as a writer in the Gloucester Daily Times explained, "Max Kuehne came to Rockport to paint, but he stayed to sail." The 1920s was a boom decade for Cape Ann, as it was for the rest of the nation. Kuehne's studio in Rockport was formerly occupied by Jonas Lie. Kuehne spent the summer of 1923 in Paris, where in July, André Breton started a brawl as the curtain went up on a play by his rival Tristan Tzara; the event signified the demise of the Dada movement. Kuehne could not relate to this avant-garde art but was apparently influenced by more traditional painters — the Fauves, Nabis, and painters such as Bonnard. Gallatin perceived a looser handling and more brilliant color in the pictures Kuehne brought back to the States in the fall. In 1926, Kuehne won the First Honorable Mention at the Carnegie Institute, and he re-exhibited there, for example, in 1937 (Before the Wind). Besides painting, Kuehne did sculpture, decorative screens, and furniture work with carved and gilded molding. In addition, he designed and carved his own frames, and John Taylor Adams encouraged Kuehne to execute etchings. Through his talents in all these media he was able to survive the Depression, and during the 1940s and 1950s these activities almost eclipsed his easel painting. In later years, Kuehne's landscapes and still-lifes show the influence of Cézanne and Bonnard, and his style changed radically. Max Kuehne died in 1968. He exhibited his work at the National Academy of Design, the Art Institute of Chicago, the Carnegie Institute in Pittsburgh, the Memorial Art Gallery of the University of Rochester, and in various New York City galleries. Kuehne's works are in the following public collections: the Detroit Institute of Arts (Marine Headland), the Whitney Museum (Diamond Hill...

John Francis Murphy (1853 - 1921) Saratoga, 1876 Graphite on paper Sight 8 3/4 x 10 1/2 inches Titled and dated to lower right Provenance: Babcock Galleries, New York Spanierman Gallery, New York In his lifetime, John Francis Murphy (1853-1921) was known as “the American Corot.” He was renowned for his small, intimate views of nature, especially barren fields and farms, bare trees, and lonely marshland. More than a century later, the power of Murphy’s landscapes has not waned. One contemporary critic wrote, “It was Murphy’s unique accomplishment to achieve an absolute realism without a loss of that mystic, indefinable quality which transfigures realism.” John Francis Murphy was born at Oswego, NY in 1853 but his family moved to Chicago in 1868 where he worked painting theater sets. Murphy was basically a self-taught artist; his only formal training was a few weeks of instruction at the Chicago Academy of Design. In 1875, Murphy moved from Chicago to New York, eventually rooming with the painters Dennis Bunker and Bruce Crane above a bakery shop. Murphy’s early work was typical of the Hudson River school but he soon fell under the sway of the loose brushwork and moody style of French Barbizon painting...

Created circa 1955 by Victor Di Gesu (American, 1914-1988) and stamped, verso, with certification of authenticity. Winner of the Prix Othon Friesz, Victor di Gesu first attended th...

"The unusual shapes coming together in their raw simplistic form, how they interact with each other, the shapes creating their own language. I let them stand alone in their purest fo...

The Paths series was born out of a trip I took one summer to LA. The trip itself was more of an escape from my life in New York. At the time I was at a crossroads. Having just gone t...

Finesse and delicateness are what best characterize Antonin Anzil’s artistic practice. Using a sharp tool to carefully pull the fiber of the paper from the front, the artist gives bi...

Signed lower right "Sally Mack" (American, 20th century) and painted circa 1975. Painted on Arches paper. A vibrant, Post-Impressionist still-life showing branches of cherry-blossom...

Over 140 hours went into producing this painting! It is an original watercolor and ink painting of 2, Tui birds playing in a gorgeously colored interior. I choose these playful bird...

Abstract red, green and grey interior scene with lines, shapes and hand painted brushstroke texture. Colorful large scale work ideal for display in minimalist, modern and contemporary spaces. While British pop artists such as David Hockney and Patrick Caulfield numbered amongst Howard Hodgkin's circle of friends, Hodgkin's work is painterly, expressionist, and abstract. Paper 21.25 x 27.25 in. / 54 x 69 cm Softground etching and aquatint (from two plates) with hand coloring in watercolor (green and orange). Signed by the artist and dated 77 lower right in pencil; numbered lower left in pencil. This print was proofed by Daniel Levy and printed and hand-colored by Ken Farley at Claes Oldenburg’s studio in New York, which Petersburg Press was using at the time. 1977 heralded a breakthrough in Hodgkin’s prints showing an increase in emotional content and intensity. They are more fluid and lush due to an increased looseness of handling. They show a richness and a surface texture previously lacking – mainly due to the application of gouache or watercolor by hand but also to the more tonal techniques of aquatint and soft-ground etching with its chalk-like lines. This print amongst others of the period was prompted by a visit to Tulsa, Oklahoma and represents an interior scene. Catalogue Reference: Elizabeth Knowles...

A substantial, late 19th century, French School portrait of an elegantly dressed young woman of the court, shown holding her English spaniel in her arms and gazing towards the viewer...

This work on paper by James Childs is offered by CLAMP in New York City.

The present work exhibits a storytelling and illustration art style created before the mass communications age. It was rendered in a flat linear style by the highly talented Maginel ...

Landscape with Alpine Skiing and furniture armoire in bright vibrant colors. Iain Baxter& (the artist recently added the ampersand to his name) is recognized as Canada’s pioneering conceptual artist. For over forty years, Baxter& has continually produced works that question the role of art as commodity and as a medium for cultural commentary. Among his many innovations, Baxter& was the first artist to adopt a corporate persona: in 1966, he formed the N.E. Thing Company. NETCO output ranged from conceptual, satirical, vacuum-formed still lives to post-modern appropriations of famous artworks. His recent work includes neon signs, ‘animal preserves’, a grocery cart of ‘GMO’s’ (genetically modified organisms) and installations using obsolete technology.) He is a painter, photographer, sculptor, mixed media artist, installationist, film & video maker, interventionist & performance artist who has been a forerunner of conceptual art in Canada. BAXTER& has been considered the Marshall McLuhan of Visual Arts in Canada. Continuous themes in his work include information technology, landscape, art as commodity, & environmental & ecological concerns. These prominent themes throughout BAXTER&‘s work are often met with wit, parody, satire & word-play. Through his art, teaching, and mentorship, BAXTER& has widely influenced Canadian art, creating new movements such as the Vancouver School of Photo-conceptualism and blurring the lines between private and public through his N.E. Thing Co. among many other impactful projects. He has also directly influenced major Canadian artists, including Stan Douglas, Ian Wallace, Jeff Wall, Roy Arden, Ken Lum...

Born in 1918 in Budapest, Hungary, Engel began his professional career in animation as a color designer at the Walt Disney studio. Although his credits include work on such classics as Disney’s Bambi...

A woman in jewels and a gossamer sari churns butter for ghee. Ink and gouache with gold heightening on fibrous, brown laid paper, with a Jaipur Court Fee tax stamp in purple ink on ...

'Kneeling Nude', Louvre, Académie Chaumière, LACMA Signed lower right, "Di Gesu" for Victor di Gesu (American, 1914-1988) and painted circa 1955. Watercolor nude showing a woman kn...

Baruch Nachshon, was born in Mandatory Palestine in 1939, in the city of Haifa. Nachshon began to paint in early childhood, and developed his relationship to art and to artists throu...

Arieh (Leo) Lubin, Israeli, 1897-1980 Drawing in pencil and pastel of two seated Arab or Sephardic Jewish figures. Hand signed in Hebrew upper left. Dimensions: (Frame) H 18" x W 2...

A small octopus is inked in the Japanese style of Gyo-Taku print making over a playful background of black and white puppies. Using sumi ink to "print" the octopus, the artist then ...

Artist/Designer; Manufacturer: Chaim Gross (American, 1902-1991) Marking(s); notes: signed; 1928 Materials: pencil and watercolor on paper Dimensions (H, W, D): 9"h, 6.5"w; 17"h, 13"...

Xiao Wen Xu is a Chinese-born Canadian artist based in Toronto, Canada, Her artistic practice is deeply influenced by her profound appreciation for the natural world. This artwork is...

Award-winning artist Jorge Yances reflects the Latin literary tradition of Magical realism with his ability to blend fantasy and reality in his artwork. Yances was born in Cartagena...

Signed lower right, 'Gunter Schulz-Ilhefeldt' (German, 1912-1966) and dated 1950. An elegant, modernist coastal scene showing a substantial stone-built breakwater at low tide juxtap...

A substantial and vibrant watercolor still-life showing a loose group of pink and red dog-roses informally arranged in an ivory-field, satsuma vase, set on a floral-pattern tableclot...

Soft pastel painting on sanded paper, 27x21 inches. Birch forest in Furstenberg Nature Area, Ann Arbor, MI. The pastel painting is sold framed with conservation glass. Fits perfe...

Encaustic on Okawara paper - Unframed The title, Guna (2016), is a Sanskrit word meaning ‘string, thread or strand’ and was inspired by Adams yoga practice. “It’s a key concept in ...

(Framed size: 17.5 x 17.5 inches)

nterior (Untitled), 1958, watercolor and ink on paper mounted on cardboard, signed and dated lower right, 11 ½ x 16 ½ inches (sight); 12 x 18 inches (sheet); inscribed lower left “To...

In her work, Allison Gildersleeve addresses the theme of memory, exploring the phenomenon of past and present becoming collapsed or entwined by the emotional experience. Gildersle...

Artist: Ken Burton (English, 1946-) Title: "Greatford, Somerset" *Signed by Burton lower right Year: 1988 Medium: Original Watercolor on heavy wove paper Framing: Not framed, but beautifully matted with hand decorated archival French matting Matted size: 18" x 20" Image size: 9.5" x 12.5" Condition: Never framed, has been professionally stored away for decades. In mint condition Notes: Provenance: acquired directly from the artist Burton himself in the 1980's. Somerset is a county in South West England which borders Gloucestershire and Bristol to the north, Wiltshire to the east, Dorset to the south-east and Devon to the south-west. It is bounded to the north and west by the Severn Estuary and the Bristol Channel, its coastline facing southeastern Wales. Biography: Born in Peterborough in 1946, Ken Burton's interest in art began at school and led him to an initial choice of career in design and engraving, in which he trained with Joseph Hules, in London. He left in 1970 to enter public service (The British Police...

A superb expression of a triumphant free spirit, and the balancing act required to maintain it, this watercolor was created by a woman who embodied female independence—especially rem...

Crash Course, Original Contemporary Impressionist Landscape Painting 8" x 8" (HxW) Pastel on Paper Hand-signed by the artist. This modern impressionist seascape features a square co...

This work was intentionally torn and mended along the curve through the center of the work. It predates the artist's full immersion, years later into torn and re-pasted collages, us...

Leon Bibel, 'Untitled (War Machine)', brush and ink, c. 1936. Estate stamped, verso. A fine expressionist rendering, on cream wove drawing board, with marg...

Santa has a quickie with Mom. Elmer Simms Campbell was the first African American Illustrator to work for major newsstand magazines. Published December, 1963 Signed in pencil lower...

Amy Londoner Beach at Atlantic City, circa 1922 Signed lower right Pastel on paper Sight 23 x 18 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...

Painted by Victor Di Gesu (American, 1914-1988) circa 1955 and accompanied by certificate of authenticity. Winner of the Prix Othon Friesz, Victor di Gesu first attended the Los An...

Artist: Mac Jamison, American Title: Untitled Medium: Watercolor, signed l.r. Size: 30 in. x 41.5 in. (76.2 cm x 105.41 cm)

Title is Fillette en Kimono, 1954 .Drawing by Jean Jansem, 1954. Included the certificate of authentic by Stephanie's gallery. Fillette en Kimono" is a captivating black and white drawing that beautifully captures the essence of Japanese culture and traditional clothing...

This is a one of a kind original pop art drawing by San Diego artist, Daniel Jaimes. It comes in a black frame. Its dimensions are 16"x20"x1". A certificate of authenticity will follow delivery. This drawing depicts popular Pokemon character Pikachu and Sesame Street character Oscar The Grouch...

Finesse and delicacy are what characterize best Antonin Anzil’s artistic practice. Paper as a medium seems incompatible with the idea of engraving or sculpturing; and yet. Using a sh...

Sarah Alexander's 30 x 40 inch Watercolor on gallery wrapped canvas painting "Spin" is rich in earthy rusts, sepias, and browns spiraling across the canvas. This painting is a whirlw...