André Lhote Drawings and Watercolor Paintings

Bad Weather is an original artwork realized between the XIX century and XX century by Paul Roux. Original black and white drawing on paper glued on cardbo...

Modernist Fish Study in Red and Black Marker on Paper Guy Nicod (French, 1923–2021) Felt-tip pen / marker on artist paper, unframed. Size: approximately 10 x 16.5 inches (height x wi...

Important and very rare pastel drawing by one of the greatest Italian artists of the 20th century Antonio Mancini. It depicts in a "futurist" style a smiling young woman wrapped in a...

Expressive octopus illustration in blue and green marker (20th century) Felt-tip pen / marker on paper, unframed. Size: approximately 12.26 x 16.5 inches (height x width) Unsigned. C...

Follower of Antoine Calbet. French ( b.1860 - d.1944 ). Theseus and Ariadne, Circa 1890 - 1910. Mixed Media. Watercolour, Gouache & Pastel Image size 16.5 inches x 11.2 inches ( ...

Victor Gabriel Gilbert. French ( b.1847 - d.1933 ). L’ Eglise De La Sainte-Trinite, Place De La Trinite, Paris. Gouache & Watercolor On Paper. Signed Lower Right. Image size 15 ...

Edward Dufner (1872 - 1957) Monhegan Island, Maine Watercolor on paper Sight 16 x 20 inches Signed lower right With a long-time career as an art teacher and painter of both 'light' and 'dark', Edward Dufner was one of the first students of the Buffalo Fine Arts Academy to earn an Albright Scholarship to study painting in New York. In Buffalo, he had exchanged odd job work for drawing lessons from architect Charles Sumner. He also earned money as an illustrator of a German-language newspaper, and in 1890 took lessons from George Bridgman at the Buffalo Fine Arts Academy. In 1893, using his scholarship, Dufner moved to Manhattan and enrolled at the Art Students League where he studied with Henry Siddons Mowbray, figure painter and muralist. He also did illustration work for Life, Harper's and Scribner's magazines. Five years later, in 1898, Dufner went to Paris where he studied at the Academy Julian with Jean-Paul Laurens and privately with James McNeill Whistler. Verification of this relationship, which has been debated by art scholars, comes from researcher Nancy Turk who located at the Smithsonian Institution two 1927 interviews given by Dufner. Turk wrote that Dufner "talks in detail about Whistler, about how he prepared his canvasas and about numerous pieces he painted. . . A great read, the interview puts to bed" the ongoing confusion about whether or not he studied with Whistler. During his time in France, Dufner summered in the south at Le Pouleu with artists Richard Emil Miller...

This piece, titled "The Meeting 30" is an original artwork by Seth Clark as part of his newest solo exhibition, "Passing Through". made of ink transfer, charcoal, pastel, acrylic, a...

Indistinctly signed in Bengali, dated ‘79 Bangladesh/Indian Indistinctly signed in Bengali and dated ‘79 Untitled - Fishermen 1979 Watercolour on paper Paper size: 34 x 53 cm Frame Size: 46 x 62.5 cm Provenance: From a private UK family A fabulously evocative watercolour painting showing fisherman, struggling against the elements. This is Bangladesh, 1979, not long after Independence, when the focus was on the working classes, the everyday struggle to make a living and when the artists depicting these times were concurrently exploring and establishing a new aesthetic. The painting combines naturalism with the wash method of watercolour painting and a reduced palette which allows for a rich harmony of shadow and light. Although appearing to simply utilize monotone colours, closer inspection reveals splashes of quite vivid colours; the yellow on the horizon, a deep crimson on the trousers of one of the figures, blue in the nets etc. The colour is subtle but adds a richness to the overall composition implying that this artist has received an academic training; knowing how to get the most from the materials. Add to this the beautiful watery effect from the wash on the paper and we can immediately see references to Bengal school art techniques. It is not surprising that the artist employs this medium. Neuroarthistory points to the rich heritage of Bengal school painters and the fascination with wash technique emanating from their connection to the water which provides the backbone for the region. From supplying food; fish and seafood, to transportation, agriculture and festivities. Bengal and Bangladesh live and die with the water. Some of the leading protagonists of the mid 20th century Bengal school of painters were equally captivated by the same subject and ideology. D P Roy Choudhury was a leading figure in the academic art institutions in the first half of the 20th century. He was also a great experimenter of style. In the image shown,, we can see Choudhury’s treatment of the same subject and how he to chose the monotone palette. It is through observing the similarities and differences that we begin to learn more about the times these artists were painting in and in the case of the Bangladeshi artists how they were approaching the political traumas of the time. The label to the back of the frame tells its own story;. Saju Arts & Crafts, Dacca-12. “Saju was born in 1944 in Ramu, Cox's Bazar. At one point, he became friends with Shamsul Islam Nizami, one of the veteran painters of Bangladesh. At that time, Nizami was a teacher of the Institute of Fine Arts (now Faculty of Fine Arts, University of Dhaka). Nizami introduced Saju to all the notable painters in the contemporary art scenario -- from master painters like Zainul Abedin, Quamrul Hassan...

Expressive prawn illustration in orange and black marker (20th century) Felt-tip pen / marker on paper, unframed. Size: approximately 12.25 x 16.5 inches (height x width) Unsigned. ...

French watercolor of houses in tones to red and black, 1966. Dated lower right. Original artwork on paper displayed on a white mat with a gold border. Mat fits a standard-size fra...

'Amaryllis Study no. 3' by master watercolorist Gary Bukovnik, who fuses sensual vitality with fluid yet powerful colorations to create floral images of great depth, intensity, and s...