Figurative Drawings and Watercolors on Sale

Very well executed original gouache on archival paper by the well known American artist Benjamin Kopman. The scene depicts three figures admiring a picture. Signed lower left. Circa ...

Out of the Water, pencil and tempera on paper, inspired by Matisse. Part of Nude in Interior series. Shipped rolled in a tube, directly from the artist's studio. See pictures, in mat...

Small-scale yet bold multi-colored abstracted figurative landscape of a horse rider in a canyon (a study after Edgar Payne’s works) by Tiffanie Mang (Ameri...

Original Painting. Colliers Magazine Cover Published 1933 Wedding Illustration Antonio Petruccelli (1907 - 1994) The Wedding Colliers published, June 17, 1933 17 1/4 X 11 1/2 inches (sight) Framed 23 1/4 X 17 1/2 inches Gouache on board Signed lower right BIOGRAPHY: Antonio Petruccelli (1907-1994) began his career as a textile designer. He became a freelance illustrator in 1932 after winning several House Beautiful cover illustration contests. In addition to 24 Fortune magazine covers, four New Yorker covers, several for House Beautiful, Collier’s, and other magazines he did numerous illustrations for Life magazine from the 1930s – 60s. ‘Tony was Mr. Versatility for Fortune. He could do anything, from charts and diagrams to maps, illustrations, covers, and caricatures,’ said Francis Brennan, the former art director for Fortune. Over the course of his career, Antonio won several important design awards, designing a U.S. Postage Stamp Commemorating the Steel Industry and designing the Bicentennial Medal...

Oil pastel on paper. Two abstracted subjects are placed next to each other, overlapping to create a form that is illuminated. Beams of light yellow radiate from the tops of the figur...

Flying High - original unique female nude drawing. Part of my Blue Nude series, inspired by Matisse. Ultramarine tempera on paper. Shipped rolled in a tube, directly from the artist's studio. Shipping anywhere in the world, flat rate. Registered airmail. Artist Statement "I started by painting interiors, being interested in space and perspective through my studies. These scenes evolved, when I added the human figure. I focused more on the human figure and its relation to the background. The human figure is more present than ever in my paintings now. As a woman artist I’ve been preoccupied with the female form and its imagery. One of my goals was to capture the solitary moments and the nude’s relation to the surrounding space. My interest turned from depicting the space to rendering the atmosphere and the scene as a whole, the feeling a woman adds to the environment: warmth, desire, joy, a feeling of power and control, or the opposite – sadness, despair. Here is a collection of figurative paintings, exploring the nudes in interior spaces, seeing the nudes from my perspective, as a woman artist, considering the physical and spiritual realities of a woman’s body, in a new level of intimacy. My paintings are the opposite of objectifying a woman’s or a man’s anatomy. Painted works, featuring female nudes and a also men nudes...

Hans Dvořák (19th century). Shady hollow way in a sunny forest. Watercolour and pen-and-ink drawing, 58.5 x 43 cm (visible size), 70 x 55.5 cm (frame), signed and dated "Hans Dvořák ...

Shiro Ikegawa was born on July 15, 1933 in Tokyo. He studied art in Japan and moved to Los Angeles in 1956 to study Abstract Expressionism. He attended O...

Linda Stein, Outdoor Scene 992 - Contemporary Art 3D Sculptural Drawing Collage In 2000, Linda Stein began a series called Knights of Protection. Her Knights functioned both as de...

Linda Stein, Figures with Horse 986 - Contemporary Art Drawing Collage In 2000, Linda Stein began a series called Knights of Protection. Her Knights functioned both as defenders i...

Linda Stein, Stillness and Diversity in Town 999 - Contemporary 3D Sculptural Drawing Collage In 2000, Linda Stein began a series called Knights of Protection. Her Knights functio...

Giuseppe Migneco (Messina 1903 - Milan 1997) - The fortune teller. 49.5 x 39.5 cm without frame, 52.5 x 40.5 cm with frame. Antique mixed technique drawing on paper, in wooden fram...

Linda Stein, Three Figures, Three Houses 1002 - Contemporary 3D Sculptural Drawing Collage In 2000, Linda Stein began a series called Knights of Protection. Her Knights functioned...

Linda Stein, Three Protectors 1001 - Contemporary 3D Sculptural Drawing Collage In 2000, Linda Stein began a series called Knights of Protection. Her Knights functioned both as de...

Masked Beauty in Blue , pencil and tempera on paper, inspired by Matisse. Part of Nude in Interior series. Shipped rolled in a tube, directly from the artist's studio. See pictures, ...

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...

Linda Stein, Signature Formations 996 - Contemporary 3D Sculptural Drawing Collage In 2000, Linda Stein began a series called Knights of Protection. Her Knights functioned both as...

Linda Stein, Studying Japanese 991 - Contemporary 3D Sculptural Drawing Collage In 2000, Linda Stein began a series called Knights of Protection. Her Knights functioned both as de...

Untitled_Body on the Field #4, 2022 coloured pencils on paper 39 3/8 H x 27 9/16 W inches 100 H x 70 W cm Signed on reverse Zsolt Berszán embodies in his works the dissolution of t...

Untitled_Dead Body on the Field #2, 2022 coloured pencils on paper 39 3/8 H x 27 9/16 W inches 100 H x 70 W cm Signed on reverse Zsolt Berszán embodies in ...

Paul Friedrich Meyerheim (1842 Berlin - 1915 ibid.). Sketch of a female torso with hands and an umbrella. Pencil on paper, 27.5 x 22.5 cm (visible size)...

Mixed media & acrylic on paper Nina Narimanishvili is a Georgian artist born in 1999 who lives and works in Tbilisi, Georgia. Nina has been painting since childhood and over time he...

For the Love and the Minotaur. Figurative Pencil Drawing on archival paper. Cuban Artist Jesus Nodarse 11 x 8 inches unframed THE MAN: Jesús Nodarse Valdés was born in Sagua la ...

Susan Kiefer Canray and BoisSec Pastel on paper Year: 2004 Size: 19x25in COA provided Ref.: 924802-1664 Framed pastel portrait of beloved Creole musicians Canray Fontenot and BoisSe...

Luis Miguel Valdes (Cuba, 1949) 'Catedral 8', 2017 acrylic on paper Canson 320 g. 18.4 x 24.1 in. (46.5 x 61 cm.) ID: 1D201708 Hand-signed by author _________________________________...

Signed lower right, 'Ben Abril' (American, 1923-1995) and painted circa 1955. Born in Los Angeles, California, Ben Abril is known for his equestrian paintings, primarily in watercol...

Luis Miguel Valdes (Cuba, 1949) 'Glifos 2', 2008 ink on paper 15 x 11.1 in. (38 x 28 cm.) ID: 1D200803 Hand-signed by author ______________________________________________ Biography ...

This drawing depicts a moment from one of the longest trials in US history, when Jean Harris, a headmistress of a school for girls in Virginia, was tried for 14 weeks for the murder ...

An original Ink drawing on paper using brush and pen circa 1950's. Signed lower right. The subject is an African Tribal Art piece / facial mask. The draw...

Luis Miguel Valdes (Cuba, 1949) 'Catedral 4', 2017 acrylic on paper Canson 320 g. 18.4 x 24.1 in. (46.5 x 61 cm.) ID: 1D201704 Hand-signed by author _________________________________...

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...

This framed watercolor is signed lower right by the American artist J.W. Dunn. It depicts a thrilling equestrian polo match from the 1930s, featuring four riders in traditional pol...

A very atmospheric watercolour capturing the light and shimmer of a Venetian canal. One of two views of Venice by the artist that I am offering - please see my other listing. Dennis Page (born 1926) Gondolas Venice Signed Watercolour 8½ x 10½ inches including the frame 17 x 21 inches with the frame Painter, mainly in watercolour who was born in Hampstead, London. He studied art at Harrow and the Central School of Arts & Crafts, where his tutors included Mervyn Peake...

Emil Faesch (1865 Basel - 1915 Basel). Sketch of a head. Charcoal on painting cardboard, 60 x 47.5 cm (folio size), signed and dated at lower right "E. Faesch. 1888.". Minor browning. - Carved in stone - About the artwork The life-size head has an immensely present presence. This effect is due to the fact that Faesch took his cue from academic classical...

Themistokles von Eckenbrecher (1842 Athens - 1921 Goslar), Norwegian pine grove, 1901. Watercolor on blue-green paper, 30 x 22 cm. Signed, dated and inscribed in his own hand "TvE. Fagermes [i.e. Fagermes]. 26.6.[19]01." - Slight crease throughout at left margin, otherwise in good condition. About the artwork Themistokles von Eckenbrecher often traveled to Norway to study the nature that fascinated him there. On June 26, 1901, near the southern Norwegian town of Fagernes, in the summer evening sun, he saw a small pine grove, which he immediately captured in a watercolor. He exposed the trees growing on a small hill in front of the background, so that the pines completely define the picture and combine to form a tense motif. The tension comes from the contrast of form and color. The trunks, growing upward, form a vertical structure that is horizontally penetrated by the spreading branches and the pine needles, which are rendered as a plane. This structural tension is further intensified by the color contrast between the brown-reddish iridescent trunks and branches and the green-toned needlework. Themistokles von Eckenbrecher, however, does not use the observed natural scene as an inspiring model for a dance of color and form that detaches itself from the motif and thus treads the path of abstracting modernism. Its inner vitality is to be brought to light and made aesthetically accessible through the work of art. It is precisely in order to depict the inner vitality of nature that von Eckenbrecher chooses the technique of watercolor, in which the individual details, such as the needles, are not meticulously worked out, but rather a flowing movement is created that unites the contrasts. The trees seem to have formed the twisted trunks out of their own inner strength as they grew, creatingthose tense lineations that the artist has put into the picture. The inner strength continues in the branches and twigs, culminating in the upward growth of the needles. At the same time, the trunks, illuminated by the setting sun, seem to glow from within, adding an almost dramatic dimension to the growing movement. Through the artwork, nature itself is revealed as art. In order to make nature visible as art in the work, von Eckenbrecher exposes the group of trees so that they are bounded from the outside by an all-encompassing contour line and merge into an areal unity that enters into a figure-ground relationship with the blue-greenish watercolor paper. The figure-ground relationship emphasizes the ornamental quality of the natural work of art, which further enforces the artwork character of the group of trees. With the presentation of Themistokles von Eckenbrecher's artistic idea and its realization, it has become clear that the present watercolor is not a study of nature in the sense of a visual note by the artist, which might then be integrated into a larger work context, but a completely independent work of art. This is why von Eckenbrecher signed the watercolor. In addition, it is marked with a place and a date, which confirms that this work of nature presented itself to him in exactly this way at this place at this time. At the same time, the date and place make it clear that the natural work of art has been transferred into the sphere of art and thus removed from the time of the place of nature. About the artist Themistocles' parents instilled a life of travel in their son, who is said to have spoken eleven languages. His father, who was interested in ancient and oriental culture, was a doctor and had married Francesca Magdalena Danelon, an Italian, daughter of the British consul in Trieste. During a stay in Athens - Gustav von Eckenbrecher was a friend of Heinrich von Schliemann and is said to have given him crucial clues as to the location of Troy - Themistokles saw the light of day in 1842. After an interlude in Berlin, where Themistokles was educated at the English-American School, the journey began again. From 1850 to 1857 the family lived in Constantinople, after which the father opened a practice in Potsdam, where Themistokles, who wanted to become a painter, was taught by the court painter Carl Gustav Wegener. In 1861 the von Eckenbrechers left Potsdam and settled in Düsseldorf. There Themistokles received two years of private tuition from Oswald Aschenbach, who greatly admired the talented young artist. After his artistic training, he undertook extensive travels, often accompanied by Prince Peter zu Sayn-Wittgenstein, which took him to northern and eastern Europe, but above all to the Middle East and even to South America. The paintings that resulted from these journeys established his artistic reputation and led to his participation in large panoramas such as the 118 x 15 metre Entry of the Mecca Caravan into Cairo, painted for the City of Hamburg in 1882. 1882 was also the start of a total of 21 study trips to Scandinavia, most of them to Norway, and the unique Norwegian landscape with its rugged fjords became a central motif in his work. Along with Anders Askevold and Adelsteen Normann...

Luis Miguel Valdes (Cuba, 1949) 'Gestos 1', 2019 acrylic on paper Canson 320 g. 17.8 x 17.8 in. (45 x 45 cm.) ID: 1D201912 Hand-signed by author _____________________________________...

Luis Miguel Valdes (Cuba, 1949) 'Haikujos 2', 2017 acrylic on paper Canson 320 g. 17.8 x 17.8 in. (45 x 45 cm.) ID: 1D201710 Hand-signed by author ___________________________________...

Luis Miguel Valdes (Cuba, 1949) 'Haikujos 1', 2017 acrylic on paper Canson 320 g. 17.8 x 17.8 in. (45 x 45 cm.) ID: 1D201709 Hand-signed by author ___________________________________...

Luis Miguel Valdes (Cuba, 1949) 'Catedral 7', 2017 acrylic on paper Canson 320 g. 18.4 x 24.1 in. (46.5 x 61 cm.) ID: 1D201707 Hand-signed by author _________________________________...

Luis Miguel Valdes (Cuba, 1949) 'Catedral 5', 2017 acrylic on paper Canson 320 g. 18.4 x 24.1 in. (46.5 x 61 cm.) ID: 1D201705 Hand-signed by author _________________________________...

Luis Miguel Valdes (Cuba, 1949) 'Catedral 3', 2017 acrylic on paper Canson 320 g. 18.4 x 24.1 in. (46.5 x 61 cm.) ID: 1D201703 Hand-signed by author _________________________________...

Luis Miguel Valdes (Cuba, 1949) 'Catedral 2', 2017 acrylic on paper Canson 320 g. 18.4 x 24.1 in. (46.5 x 61 cm.) ID: 1D201702 Hand-signed by author _________________________________...

Luis Miguel Valdes (Cuba, 1949) 'Catedral 1', 2017 acrylic on paper Canson 320 g. 18.4 x 24.1 in. (46.5 x 61 cm.) ID: 1D201701 Hand-signed by author _________________________________...

This is a 9x 12 inch work on paper. watercolor and acrylic paint used for an "ink dispersion" technique which I've been creating for almost three decades. When the happy accident in ...

Signed lower right, 'V. Conroy' for Virginia Conroy (American, 1922-2006) and dated 1985. Exhibited: Carmel Art Association, 1983 (on original backing...

Luis Miguel Valdes (Cuba, 1949) 'Maromas', 2010 ink on paper 5.8 x 16 in. (14.5 x 40.5 cm.) ID: 1D201008 Hand-signed by author ______________________________________________ Biograph...

Luis Miguel Valdes (Cuba, 1949) 'Descanso', 2010 ink on paper 5.8 x 13.4 in. (14.5 x 34 cm.) ID: 1D201006 Hand-signed by author ______________________________________________ Biograp...

Luis Miguel Valdes (Cuba, 1949) 'Pefil-1-10', 2010 ink on paper 12.3 x 7.5 in. (31 x 18.8 cm.) ID: 1D201005 Hand-signed by author ______________________________________________ Biogr...

A pencil drawing with ink wash Tom Leveritt (1976) was raised in Texas, sent to boarding school in the UK, got a first at Cambridge, an Army Scholarship i...

Luis Miguel Valdes (Cuba, 1949) 'Pareja', 1999 ink on paper 15 x 11.1 in. (38 x 28 cm.) ID: 1D199907 Hand-signed by author ______________________________________________ Biography Bo...

Luis Miguel Valdes (Cuba, 1949) 'Coyoacan', 2016 acrylic on paper Canson 320 g. 20.9 x 16.6 in. (53 x 42 cm.) ID: 1D201603 Hand-signed by author _____________________________________...

Luis Miguel Valdes (Cuba, 1949) 'Manos 2', 2016 acrylic on paper Canson 320 g. 20.9 x 16.6 in. (53 x 42 cm.) ID: 1D201606 Hand-signed by author ______________________________________...

Luis Miguel Valdes (Cuba, 1949) 'Reclinada-02', 2011 ink on paper Deponte 300 g. 11.5 x 15.4 in. (29 x 39 cm.) ID: 1D201104 Hand-signed by author ____________________________________...

Luis Miguel Valdes (Cuba, 1949) 'Perfil con mano', 1999 ink on paper 10.9 x 11.9 in. (27.5 x 30 cm.) ID: 1D199905 Hand-signed by author ______________________________________________...

Carl Friedrich Deiker (1838 Wetzlar - 1892 Düsseldorf). Vigilant fox. Pencil drawing on brown paper, 18 × 29.5 cm (inside measurement), 31.5 x 43.5 cm (mount), signed and dated "Deiker [18]54" at lower right. - a little bit stained, with a light water stain at lower right About the artwork Carl Friedrich Deiker's consummate ability to depict animals is already evident in this early work. He brought a whole new psychological dimension to animal painting, so that one could literally speak of animal portraits. The naturalistic appearance of the fox alone makes it seem alive. Every strand of muscle, even every hair, is captured, which requires an intensive artistic study of animal anatomy and physiology. But the fox's real liveliness comes not from its natural appearance, but from its internal movement: Stretched out, it has been brought out of rest. It turns around and, with its ears pricked up, looks intently in the direction from which it has seen something. His mouth is slightly open and his pointed teeth are bared, as if he were growling. Tension gradually takes hold of his whole body. While the hind legs were still in a relaxed position, closely observed by Deiker, one front leg was already raised, ready to begin a rising movement. The fox seems so alarmed with all its senses that one gets the impression that, at any moment, its tail will move jerkily and the animal will jump up. While wild animals have traditionally been portrayed as beasts or anthropomorphised, often for caricatural purposes, Deiker explores their inherent nature by attempting to capture their psychic impulses. The wild animal is neither bestial nor human, but a creature in its own right, valued by Deiker for its own sake. In this way, he brought the dignity of the animal into representation and raised animal painting to a whole new artistic level. About the artist Carl Friedrich Deiker was the son of the drawing teacher Christian Friedrich Deiker and the younger brother of the animal painter Johannes Deiker. In addition to the family art lessons, Christian Friedrich shared a studio with his brother Johannes at Braunfels Castle, Deiker attended the drawing academy in Hanau, and from 1858 he was a student at the Karlsruhe Art Academy, where he studied under the landscape painter Johann Wilhelm Schirmer. Carl Friedrich Deiker was already in demand as an artist during his first year: Grand Duke Frederick I of Baden, Margrave Max of Baden and Grand Duke Michael of Russia bought hunting scenes by him. In 1859 he went on a study trip to the Reinhardswald. Just as the Barbizon School had rediscovered the landscape, Deiker opened up the forest for animal painting. From 1861-64 Deiker had his own studio in Karlsruhe, then moved to Düsseldorf, where his brother Johannes followed four years later. Deiker married a daughter of the landscape painter Karl Hilger and remained in Düsseldorf until his death. In 1868 he finally achieved international fame with his painting 'Pursued Noble Deer' and was regarded as a virtuoso new founder of animal painting. "Deiker brought for the first time a truly great artistic quality to animal painting [...]". - Hans Vollmer From 1870 he participated in the academic art exhibitions in Berlin, Dresden, Munich and Hanover. He was also very busy as an illustrator. He drew for the Gartenlaube, the Salon, the Universum, and produced many of the finely illustrated hunting and animal books of the period. He also worked as a printmaker, while his oil paintings circulated as reprints by Franz Dinger. From 1865 to 1892 Deiker was a member of the artists' association Malkasten. Carl Friedrich Deiker's life's work was honoured with a large posthumous memorial exhibition at the Düsseldorf Kunsthalle in 1892. His son Carl Deiker, born in 1879, also became a painter. Selection of art museums that own works by Carl Friedrich Deiker: Hamburger Kunsthalle / Kunsthalle Karlsruhe / Kunstmuseum Düsseldorf / Wallraff Richartz Cologne. Selected Bibliography H. Schmidt: Johannes and...

Sketchbook Page with Figures and Anatomical Details in Pencil on Paper Drawings of a man at a desk and other figurative sections by an unknown artist (19th Century). On the left sid...

Mixed media on paper Nina Narimanishvili is a Georgian artist born in 1999 who lives and works in Tbilisi, Georgia. Nina has been painting since c...

Luis Miguel Valdes (Cuba, 1949) 'Lilas 4', 2007 ink on paper Canson 320 g. 22.5 x 18.8 in. (57 x 47.5 cm.) ID: 1D200725 Hand-signed by author ________________________________________...