Drawings and Watercolor Paintings on Sale

Surrealist watercolour and gouache on handmade paper by British artist Derek Carruthers. Signed bottom right and signed, dated and titled 'Sunday School Ghosts' to the reverse. A wo...

Original Ink Drawing by Jean Cocteau. Signed with certificate of authenticity.

Lots of humor in this watercolor painted by a Mexican artist who unfortunately did not sign it. We enter in a fancy world. Be prepared! Two trinkets featuring, the first one, an imaginary church with 4 big threatening birds standing guard, two on the 2 church towers, and two in front of the door. Behind this, we can perceive the shape of a big kettle. These surreal objects stand in front of a window, therefore inside a house. They rest on a small green carpet...

Eugenio Granell (1912-2001) - Surrealist figure. Watercolor Watercolor measures 29x22 cm. Frame measures 56x49 cm. Eugenio Granell was born in La Coruña in 1912. He lived most of his childhood in Santiago de Compostela, a city that marked a large part of his artistic work. From a young age, he showed a great predisposition to art, specifically to music, and in 1928 he moved to Madrid to study violin at the Escuela Superior de Música. There he met the composer and director Enrique Casal Chapí. It is at this time when he begins to attend political and literary gatherings in Madrid cafes. His circle of friends - such as Benjamín Péret or Wilfredo Lam - brought him closer to the orbit of the Partido Obrero de Unificación Marxista (POUM), in which he began to serve in 1935. At the outbreak of the Spanish civil war, he joined the militias loyal to the republican government to defend the capital and combined this activity with the direction of El Combatiente Rojo, the POUM newspaper. After the war ended, he was doubly persecuted; on the one hand, the victorious fascist army, which tried to get rid of any signs of active resistance against the new regime. On the other hand, Granell would suffer the persecution of his own communist comrades, since, under Stalin's mandate, the POUM and its militancy -of a Trotskyist nature and opposed to the Stalinist line of the Soviet Union- were considered enemies of communism and, therefore, this, condemned to persecutions and murders. Thus, in 1939, he must move to France. There he finds a reality different from the one he was looking for and went through various concentration camps until, after several attempts, he managed to escape and reach Paris -where he will meet Péret and Lam- to find a way out of his situation, leaving for South America. On the train that takes him to the port of La Havre, he meets Amparo Segarra, a Valencian fleeing Franco's repression, who would become his partner. They embark to Chile but, given the impossibility of this country to receive more refugees, they divert to the Dominican Republic, where they will settle, now together with Amparo, in the capital, Ciudad Trujillo. There, the artist will become part of the Symphony Orchestra as first violin. In 1941 he met André Breton when interviewing him for the newspaper La Nación. From this meeting a friendship will arise that will last until his death in 1966. In 1944 he publishes the book of stories El hombre verde. In 1946, only six years after settling in, under the hardening of the Trujillo dictatorship, he refused to sign a letter of adherence to the regime, so they had to leave the country and moved to Guatemala. There he entered as a professor at the School of Plastic Arts, maintaining an intense cultural activity. At the beginning of the Guatemalan revolution, in 1950, he had to flee the country again, for fear of Stalinist persecution. This time the Granell-Segarra family arrives in Puerto Rico, where the artist will occupy the chair of Art History at the Faculty of Humanities. In these years he published Isla Cofre Mítico -which is tremendously close to the surrealist poetic style- and participated in various collective exhibitions at the Puerto Rican university. Although in Santo Domingo he had collaborated with him on poetry magazines...

This piece is a limited edition, pencil signed by the artist on the print and in the plate. It is part of my private collection of artists from the School of Paris era. It is in very...

The Cartographer, 2021 collage on paper 50 H x 35 W cm Raluca Arnăutu dreams the world through collages. A collage, dreamlike and surreal, populated by thousands of pieces of paper,...

A black and white, Surrealist watercolor on paper by artist Desmond McLean in a cerused black frame. McLean was born in Sligo, Ireland and raised in Brooklyn, NY. He was a professor...

A black and white, Surrealist watercolor on paper by artist Desmond McLean in a cerused black frame. McLean was born in Sligo, Ireland and raised in Brooklyn, NY. He was a professor...

Manfred K. Schwitteck (*1948), Still life with fish bones, pencil and pencil sharpener, 1992. watercolor over pencil on handmade paper, 31.5 x 45 cm (visible size), 47 x 61 cm (frame...

Manfred K. Schwitteck (*1948), Still life with fish bones and champagne corks, 1992. watercolor over pencil on handmade paper, 31.5 x 45 cm (visible size), 47 x 61 cm (frame), signed...

Man with Telephone - Surrealist Black and White Portrait in Ink on Paper Surrealist composition by an unknown artist (20th Century). A man dressed in a su...

Acrylic on paper, Framed 42 x 42 x 3 cm Helen Uter is an established Franco-American painter born in 1955 who lives and works in Donnery, near Orléans, France. Heavily influenced b...

Acrylic on paper, Framed 42 x 42 x 3 cm Helen Uter is an established Franco-American painter born in 1955 who lives and works in Donnery, near Orléans, France. Heavily influenced b...

Juanita Guccione (1904 - 1999) Study for Ladders, 1948 Gouache on paper 17 x 13 inches Signed lower left, dated, and inscribed “Study for Oil Painting...

This work was part of "Body Politics", the August/September 2022 exhibition marked the debut of this work in the region (New Orleans), and the first time any of these works have been...

Isabel Rock is a creator of contemporary fairy tales. A graduate of the Royal College of Art in London, her work is an explosion of strange occurrences while a surreal narrative takes the audience on a journey into the imagination. In October 2023 Isabel won the Evelyn Williams Drawing Award at the Trinity Buoy Wharf Drawing Prize. Known as the UK’s most prestigious annual open exhibition for drawing; part of the prize is a solo show at Hastings Contemporary, scheduled for 2024. Whilst Isabel always has a tale to tell for each of her images, you may or may not choose to go on the journey with her or you may indeed have a different story, one of your own that jumps off the page at you and you decide to follow. Artwork Details: Isabel Rock , 'Just another Day in Paradise', mixed media on best archival paper, 85cm x 140cm, unframed, 2022 In Rock's own words, 'It was just another day in Paradise for the Pink Poodle People of the Everlasting Fountain of Eternal Joy. Since every day was Paradise it was just another normal day filled with love, ecstasy and wonder. It started slowly at first, things began to appear in paradise, strange objects that the Pink Poodle People did not know what to do with. Some had sharp edges, others were so and smelt strange, bad strange. Some things glittered and shone. Every day more of these objects would arrive in Paradise. ' If this happens every day then soon Paradise will be full of these strange objects. Some of them are nice but many are bad and smelly. One day there will be no Paradise, only bad, sharp and smelly things.' But the Pink Poodle People did not know what to do with the objects and every day more arrived.' Artwork Provenance: from the Artist Studio A certificate of authentication comes from Gallery Art 1821 photo credits, Isabel working, black and white shots, James Brown About Isabel Rock and her work: Taking inspiration from Japanese woodblock prints and Indian miniature painting Rock has developed a unique collage technique that combines bold structures with large-scale woodblock prints and intricate detailing. The subject is a grand mixture of humour, drama, hidden morals, fanciful characters, modern culture, mythical beings and fantastical situations. Rock creates a world that pulls you in and demands your attention. Quality of line is paramount, the drawings are created using a dipping pen and acrylic ink. An essential tool is a squirrel...

Isabel Rock is a creator of contemporary fairy tales. A graduate of the Royal College of Art in London, her work is an explosion of strange occurrences whi...

This framed 15.5" x 13.25" mixed media female portrait by artist Jeffrey Kronsnoble features the black and white profile of a women with a circular ...

Isabel Rock is a creator of contemporary fairy tales. A graduate of the Royal College of Art in London, her work is an explosion of strange occurrences whi...

Artist: Ian Hornak (1944-2002) Title: Untitled (Guardian Angel, Gabriel) Year: 1973 Medium: Ink on heavy archival paper Size: 22 x 30 inches Condition: Good Provenance: Estate of Ian...

Ink on paper, framed.

Ink on paper, framed.

Fun and playful figurative line drawing with three stylized female faces by SusanBrooks (American, b. 1951), 1985. Signed and dated in the lowe...

Detailed drawing of several flowers and geometric shapes by an unknown artist (20th Century). Signed (illegible) and dated on the right side. Presented in a new double mat (grey, and...

Artist: Ian Hornak (1944-2002) Title: Untitled (Abstract Angel Gabriel) Year: Circa 1980 Medium: Ink on heavy archival paper Size: 18.5 x 22 inches Condi...

Dynamic surrealist line drawing of figures in an abstracted landscape by David Rosen (Canadian, 1912-2004). Signed "Rosen" in the lower right corner. Presented in a new tan mat with ...

Artist: Ian Hornak (1944-2002) Title: Untitled (Angel, Gabriel) Year: 1973 Medium: Ink on heavy archival paper Size: 22 x 30 inches Condition: Good Provenance: Estate of Ian Hornak, ...

Fantastic pair of Peter Max (American b. 1937) V. 3. IX and XII. In the manner of Picasso each color pencil signed lower center and titled low...

TOM PERKINSON "BUTTERFLY" MIXED MEDIA, SIGNED AMERICAN, DATED 1974 21.5 X 21 INCHES Tom Perkinson was born in Indianapolis, Indiana. He was raised in the country, and developed ...

keywords; wood, pencil drawing, monochrome, highly detailed, Korean art, dansaekhwa, oriental art, circles, moire, geometric abstraction, intentionally exposed support, line form and color, curvilinear forms, dynamism, contemporary drawing, graphism, repetition, engaged with traditional Korean art...

Cheoluy Kim’s practice examines the blurred frontier between perceived reality and fantasy. His work is informed by a childhood growing up on the border of North and South Korea in Gosung. There, he grew fascinated by all the fauna and flora he observed from his village surrounded by mountains, as well as the air balloons carrying political propaganda. He witnessed everything in the sky. This instilled a deeply rooted reflex to imagine a fantastical world beyond the physical frontiers he was bound by. Cheolyu Kim studied and obtained his master in sculpture, although, his current practice is entirely devoted to pen drawing on either paper or wood. Either bicolored or monochrome, the artist's typically limited chromatic palette gives room for an intense focus on detailed compositions, tonal gradients, and multiple perspectives. Kim’s background in sculpture is evident in the carved-like volumes of the elements in his drawings. Fine moire and cross-hatching are used for textures and shading in the drawn sections while the paper or wood is left fully exposed in other areas. Imaginary fauna and flora abound which contributes to a rather biomorphic aura to his work. All the while, indigenous, modern and futuristic architectural structures are erected and confuse any sense of fixed temporality. Rather, it projects us into a phantasmagorical universe where past, present and future collapse into one. Some perspectives are even skewed disrupting our contemplation. Totemic poles, origami-shaped creatures, and aquatic vegetation coexist fluidly in Kim’s oniric visions. His fine-detailed patterned dreamscapes engage the viewer actively; we are called upon to discover how do all the various entities interact over the multiple receding planes building up to Cheolyu's surrealist ecosystems. keywords; pencil, rings, circles, moire, highly detailed, geometric abstraction, intentionally exposed support, line form and color, monochrome, drawing on paper, curvilinear forms, Korean art, dynamism, contemporary minimalism, graphism, repetition, engaged with traditional Korean art...

Cheoluy Kim’s practice examines the blurred frontier between perceived reality and fantasy. His work is informed by a childhood growing up on the border of North and South Korea in Gosung. There, he grew fascinated by all the fauna and flora he observed from his village surrounded by mountains, as well as the air balloons carrying political propaganda. He witnessed everything in the sky. This instilled a deeply rooted reflex to imagine a fantastical world beyond the physical frontiers he was bound by. Cheolyu Kim studied and obtained his master in sculpture, although, his current practice is entirely devoted to pen drawing on either paper or wood. Either bicolored or monochrome, the artist's typically limited chromatic palette gives room for an intense focus on detailed compositions, tonal gradients, and multiple perspectives. Kim’s background in sculpture is evident in the carved-like volumes of the elements in his drawings. Fine moire and cross-hatching are used for textures and shading in the drawn sections while the paper or wood is left fully exposed in other areas. Imaginary fauna and flora abound which contributes to a rather biomorphic aura to his work. All the while, indigenous, modern and futuristic architectural structures are erected and confuse any sense of fixed temporality. Rather, it projects us into a phantasmagorical universe where past, present and future collapse into one. Some perspectives are even skewed disrupting our contemplation. Totemic poles, origami-shaped creatures, and aquatic vegetation coexist fluidly in Kim’s oniric visions. His fine-detailed patterned dreamscapes engage the viewer actively; we are called upon to discover how do all the various entities interact over the multiple receding planes building up to Cheolyu's surrealist ecosystems. keywords; pencil, rings, circles, moire, highly detailed, geometric abstraction, intentionally exposed support, line form and color, monochrome, drawing on paper, curvilinear forms, Korean art, dynamism, contemporary minimalism, graphism, repetition, engaged with traditional Korean art...

Cheoluy Kim’s practice examines the blurred frontier between perceived reality and fantasy. His work is informed by a childhood growing up on the border of North and South Korea in Gosung. There, he grew fascinated by all the fauna and flora he observed from his village surrounded by mountains, as well as the air balloons carrying political propaganda. He witnessed everything in the sky. This instilled a deeply rooted reflex to imagine a fantastical world beyond the physical frontiers he was bound by. Cheolyu Kim studied and obtained his master in sculpture, although, his current practice is entirely devoted to pen drawing on either paper or wood. Either bicolored or monochrome, the artist's typically limited chromatic palette gives room for an intense focus on detailed compositions, tonal gradients, and multiple perspectives. Kim’s background in sculpture is evident in the carved-like volumes of the elements in his drawings. Fine moire and cross-hatching are used for textures and shading in the drawn sections while the paper or wood is left fully exposed in other areas. Imaginary fauna and flora abound which contributes to a rather biomorphic aura to his work. All the while, indigenous, modern and futuristic architectural structures are erected and confuse any sense of fixed temporality. Rather, it projects us into a phantasmagorical universe where past, present and future collapse into one. Some perspectives are even skewed disrupting our contemplation. Totemic poles, origami-shaped creatures, and aquatic vegetation coexist fluidly in Kim’s oniric visions. His fine-detailed patterned dreamscapes engage the viewer actively; we are called upon to discover how do all the various entities interact over the multiple receding planes building up to Cheolyu's surrealist ecosystems. keywords; wood, pencil, rings, circles, moire, highly detailed, geometric abstraction, intentionally exposed support, line form and color, monochrome, curvilinear forms, Korean art, dynamism, contemporary minimalism, graphism, repetition, engaged with traditional Korean art...

Cheoluy Kim’s practice examines the blurred frontier between perceived reality and fantasy. His work is informed by a childhood growing up on the border of North and South Korea in G...

Due to the current situation related to the Novel Coronavirus pandemic, our gallery will donate 10% of our commission from this sale to the Kansas City Artists Coalition, which has b...

Predatory Animals, 2014 acryl, pencil and black fineliner on paper 13.89 H x 19.68 W in 35.3 H x 50 W cm Raluca Arnăutu creates a zoomorphic world, whe...

Due to the current situation related to the Novel Coronavirus pandemic, our gallery will donate 10% of our commission from this sale to the Kansas City Artists Coalition, which has b...

Cheoluy Kim’s practice examines the blurred frontier between perceived reality and fantasy. His work is informed by a childhood growing up on the border of North and South Korea in Gosung. There, he grew fascinated by all the fauna and flora he observed from his village surrounded by mountains, as well as the air balloons carrying political propaganda. He witnessed everything in the sky. This instilled a deeply rooted reflex to imagine a fantastical world beyond the physical frontiers he was bound by. Cheolyu Kim studied and obtained his master in sculpture, although, his current practice is entirely devoted to pen drawing on either paper or wood. Either bicolored or monochrome, the artist's typically limited chromatic palette gives room for an intense focus on detailed compositions, tonal gradients, and multiple perspectives. Kim’s background in sculpture is evident in the carved-like volumes of the elements in his drawings. Fine moire and cross-hatching are used for textures and shading in the drawn sections while the paper or wood is left fully exposed in other areas. Imaginary fauna and flora abound which contributes to a rather biomorphic aura to his work. All the while, indigenous, modern and futuristic architectural structures are erected and confuse any sense of fixed temporality. Rather, it projects us into a phantasmagorical universe where past, present and future collapse into one. Some perspectives are even skewed disrupting our contemplation. Totemic poles, origami-shaped creatures, and aquatic vegetation coexist fluidly in Kim’s oniric visions. His fine-detailed patterned dreamscapes engage the viewer actively; we are called upon to discover how do all the various entities interact over the multiple receding planes building up to Cheolyu's surrealist ecosystems. keywords; wood, pencil, rings, circles, moire, highly detailed, geometric abstraction, intentionally exposed support, line form and color, monochrome, curvilinear forms, Korean art, dynamism, contemporary minimalism, graphism, repetition, engaged with traditional Korean art...

Cheoluy Kim’s practice examines the blurred frontier between perceived reality and fantasy. His work is informed by a childhood growing up on the border of North and South Korea in G...

Cheoluy Kim’s practice examines the blurred frontier between perceived reality and fantasy. His work is informed by a childhood growing up on the border of North and South Korea in Gosung. There, he grew fascinated by all the fauna and flora he observed from his village surrounded by mountains, as well as the air balloons carrying political propaganda. He witnessed everything in the sky. This instilled a deeply rooted reflex to imagine a fantastical world beyond the physical frontiers he was bound by. Cheolyu Kim studied and obtained his master in sculpture, although, his current practice is entirely devoted to pen drawing on either paper or wood. Either bicolored or monochrome, the artist's typically limited chromatic palette gives room for an intense focus on detailed compositions, tonal gradients, and multiple perspectives. Kim’s background in sculpture is evident in the carved-like volumes of the elements in his drawings. Fine moire and cross-hatching are used for textures and shading in the drawn sections while the paper or wood is left fully exposed in other areas. Imaginary fauna and flora abound which contributes to a rather biomorphic aura to his work. All the while, indigenous, modern and futuristic architectural structures are erected and confuse any sense of fixed temporality. Rather, it projects us into a phantasmagorical universe where past, present and future collapse into one. Some perspectives are even skewed disrupting our contemplation. Totemic poles, origami-shaped creatures, and aquatic vegetation coexist fluidly in Kim’s oniric visions. His fine-detailed patterned dreamscapes engage the viewer actively; we are called upon to discover how do all the various entities interact over the multiple receding planes building up to Cheolyu's surrealist ecosystems. keywords; wood, pencil, rings, circles, moire, highly detailed, geometric abstraction, intentionally exposed support, line form and color, monochrome, curvilinear forms, Korean art, dynamism, contemporary minimalism, graphism, repetition, engaged with traditional Korean art...

Due to the current situation related to the Novel Coronavirus pandemic, our gallery will donate 10% of our commission from this sale to the Kansas City Artists Coalition, which has been supporting local Kansas City Artists for the past 40 years. The Kansas City Artists Coalition (KCAC), is a non-profit, artist-centered, artist-run alternative space, supporting artists at every level in their career through exhibitions, continuing education and artist studios. Artist: Joseph Broghammer Title: “My King...

Cheoluy Kim’s practice examines the blurred frontier between perceived reality and fantasy. His work is informed by a childhood growing up on the border of North and South Korea in Gosung. There, he grew fascinated by all the fauna and flora he observed from his village surrounded by mountains, as well as the air balloons carrying political propaganda. He witnessed everything in the sky. This instilled a deeply rooted reflex to imagine a fantastical world beyond the physical frontiers he was bound by. Cheolyu Kim studied and obtained his master in sculpture, although, his current practice is entirely devoted to pen drawing on either paper or wood. Either bicolored or monochrome, the artist's typically limited chromatic palette gives room for an intense focus on detailed compositions, tonal gradients, and multiple perspectives. Kim’s background in sculpture is evident in the carved-like volumes of the elements in his drawings. Fine moire and cross-hatching are used for textures and shading in the drawn sections while the paper or wood is left fully exposed in other areas. Imaginary fauna and flora abound which contributes to a rather biomorphic aura to his work. All the while, indigenous, modern and futuristic architectural structures are erected and confuse any sense of fixed temporality. Rather, it projects us into a phantasmagorical universe where past, present and future collapse into one. Some perspectives are even skewed disrupting our contemplation. Totemic poles, origami-shaped creatures, and aquatic vegetation coexist fluidly in Kim’s oniric visions. His fine-detailed patterned dreamscapes engage the viewer actively; we are called upon to discover how do all the various entities interact over the multiple receding planes building up to Cheolyu's surrealist ecosystems. keywords; wood, pencil, rings, circles, moire, highly detailed, geometric abstraction, intentionally exposed support, line form and color, monochrome, curvilinear forms, Korean art, dynamism, contemporary minimalism, graphism, repetition, engaged with traditional Korean art...

Soap clouds, 2014 Acryl, fineliner and colored pencil on paper 13.97 H x 19.68 W in 35.5 H x 50 W cm Raluca Arnăutu creates a zoomorphic world, where ...

Artist: J. Benito Zamora, Mexican (1951 - ) Title: Tentacion Year: 1978 Medium: Pen and Ink on Paper, signed and dated l.r. Size: 15 in. x 11.5 in. (38.1...

52"x 106" large scale watercolor on paper by award-winning New York artist Thomas Broadbent, signed on reverse. A Contemporary Surrealist Still-life painting of books and papers, wi...