William Gropper was a painter and cartoonist who, with caricature style, focused on social concerns. Gropper was born on December 3, 1897, in New York. William Gropper was a student of Robert Henri and George Bellows at the Ferrer School from 1912–15. During the 1930s, working as a part of the Federal Arts Project, he produced some of the most gripping social protest works of the Great Depression. His subjects included industrial strikes, especially in coal mining and steel-production centers. Gropper did much illustration-cartoon work for the New York Tribune newspaper, Vanity Fair magazine and the politically left-wing publication, New Masses. Some of his other pieces focused on the hypocrisy of government figures, especially members of the United States Senate. Gropper died on January 6, 1977, in Manhasset.
Charcoal Drawing "Waiting" Pensive Woman Americana WPA Artist
By William Gropper
Located in Surfside, FL
14x11.5 image size , 22.5x17.5 backing size The New-York born artist William Gropper was a painter and cartoonist who, with caricature style, focused on social concerns, and was ac...
Charcoal
UNTITLED DRAWING
By William Gropper
Located in Portland, ME
Gropper, William (American, 1897-1977). UNTITLED DRAWING. Blue chalk on fibrous handmade paper. Signed lower right, and inscribed at left to Irwin and Sarah Lefcourt. 26 1/2 x 20 1/...
Chalk
$1,119
H 8.27 in W 11.62 in D 0.04 in
Angels and Demons (Portrait of Giorgio Morandi) - Charcoal and Ink by M. Maccari
By Mino Maccari
Located in Roma, IT
Nice charcoal and ink drawing on paper representing the famous italian painter Giorgio Morandi (friend of Mino Maccari) smoking a cigar with images of a dream/nightmare on background...
Charcoal, Ink
$2,120
H 9.26 in W 6.5 in
Sibyl or bust-length woman, seen in profile to the left, wearing a turban
By Giovanni Francesco Barbieri (Il Guercino)
Located in Paris, Île-de-France
Follower of Giovanni Francesco Barbieri, called Il Guercino (Cento 1591 – 1666 Bologna) Sibyl or bust-length woman, seen in profile to the left, wearing a turban Red chalk on paper,...
Chalk
$1,765
H 13.39 in W 11.03 in D 0.79 in
Half-length portrait of a Pharisee - In the shadow of betrayal -
Located in Berlin, DE
Hermann Prell (1854 Leipzig - 1922 Dresden-Loschwitz). Half-length portrait of a Pharisee, 1885. Sketch for the right-hand figure in the painting Judas Iscariot, 1886. Pencil drawing heightened with opaque white and black chalk on beige-grey wove paper (papier vélin), 34 x 27.8 cm (visible size), 52 x 45 cm (mount), signed, dated and inscribed "H. PRELL 1885 zu 'Judas'". Minor browning, collection stamp on the reverse. - In the shadow of betrayal - About the artwork This painting is the sketch for the head of the Pharisee offering the coins to Judas in one of Herrmann Prell's major works, the painting Betrayal of Judas, completed in 1886. The painting belongs to the Staatliche Kunstsammlungen Dresden and is illustrated in Adolf Rosenberg: Prell, Bielefeld and Leipzig 1901, p. 21 (Fig. 19). It is especially highlighted in Thieme-Becker (vol. 27, p. 376). Hermann Prell, Betrayal of Judas, 1886 The monumental head, which fills the picture and is distinguished by its ornamented robe, is almost a lost profile, which in the executed painting is justified by the Pharisee's turning towards Judas. Despite the fact that the sitter withdraws from the viewer by turning away, it was necessary to artistically elaborate the motivation for the purchase of one of Christ's disciples, which is why the drawing focuses on the expression of the face, while the 'accessories' are treated in a more summary manner. In characterising the face, Hermann Prell performs a balancing act: since the Pharisee, despite his destructive actions, is an actor in the history of salvation, the head must show a dignity appropriate to the event, but at the same time the physiognomy must also bear witness to the scheming attitude that led to the betrayal. To solve this dilemma, Prell draws on the traditional depictions of the heads of the apostles, shading the face to indicate the obdurate darkness of the spirit and moving the base of the nose slightly upwards while the mouth falls away, thus giving a physiognomic expression to the motivation of the action. The fatal drama of the betrayal is expressed in the monumentalisation of the head and in the thunderous white highlights that contrast with the darkness of the chalk. As a study, considered by the artist to be a work in itself, this drawing reveals the pictorial problems and brainstorming of monumental painting. About the artist In 1872 Prell, who was one of the most important exponents of monumental painting of his time, began studying painting with Theodor Grosse at the Dresden Academy of Art and continued with Carl Gussow at the Berlin Academy in 1876. Hans von Marées taught him in Rome in 1878. More influential on his work, however, were Arnold Böcklin and Max Klinger, with whom Prell had been friends since his student days and with whom he worked together on several occasions. Prell's first major work, which established his reputation as a monumental painter, were the frescoes in the banqueting hall of the Architektenhaus in Berlin in 1881/82, commissioned by the state and depicting the different periods of architecture. Prell then went to Italy for two years to study fresco painting. Other major commissions followed. These included monumental frescoes in the town halls of Worms (1884), Hildesheim (1882-92), Gdansk (1895) and Dresden, the staircase of the Silesian Museum of Fine Arts in Breslau (1893/94), the throne room of the German Embassy in Rome (1896-99) and the staircase of the Albertinum in Dresden (1900-1904). From 1886 Prell taught at the academy of arts in Berlin and in 1892 he was appointed professor at the academy of arts in Dresden. His students included Osmar Schindler and Hans Unger...
Chalk
$18,847
H 19.69 in W 26.38 in
Paul-César Helleu, Five Studies of Jeanne Tachard, Belle Époque Portrait Drawing
By Paul César Helleu
Located in Paris, Île-de-France
Paul César Helleu (Vannes, 1859 - 1927, Paris) Five Studies of the Head of Jeanne Tachard, c. 1900 Signed lower right: Helleu Black, red and white chalk on paper 19 3/4 x 26 3/8 i...
Chalk
$2,745
H 16.54 in Dm 16.54 in
Spring - Chalk design drawing for a Minton plaque by Herbert Wilson Foster
By Herbert Wilson Foster
Located in London, GB
HERBERT WILSON FOSTER (1846-1929) Spring Inscribed with title beneath the mount Chalk on paper, circular Framed Diameter 42 cm., 16 ½ in. (frame size 61 by 58 cm., 24 by 22 ¾ in.) Herbert Wilson Foster was born in Endon, Staffordshire. He attended Hanley School of Art before continuing his studies in London, Belgium and France. His paintings of rural and domestic subjects were exhibited at the Royal Academy between 1873 and 1899. In 1893 he accepted a teaching position at the Nottingham School of Art, where his pupils included Laura Knight and Harold Knight. Works by him are in the collections of the Minton archives; the Wisbech & Fenland Museum; Leicester Art Gallery; Rushcliffe Council and Nottingham Castle Museum. In addition to his work as a painter he worked as a porcelain painter, working at one point on the tile panels in the Victoria & Albert Museum. He is known to have worked at Mintons from 1872 where he specialized in portraits of contemporary personalities, including members of the Royal Family. This head of a girl was probably intended for a painted ceramic wall charger...
Chalk, Pencil, Paper
Portrait of a Man’s Head
By William Etty
Located in London, GB
Charcoal and white chalk highlight on paper Label of J.M Maas Gallery (verso) 36cm × 28cm (54cm × 43cm framed) Etty, a student of Thomas Lawrence, R.A., was the first significant Br...
Paper, Chalk, Charcoal
$883
H 13.19 in W 9.45 in D 0.04 in
At the Festival in Venice - Drawing by Mino Maccari - 1946 ca
By Mino Maccari
Located in Roma, IT
Charcoal drawing realized by Mino Maccari in 1946 ca. Hand signed lower right. Very good condition.
Charcoal
$400
H 11.34 in W 8.12 in D 0.04 in
Sketched Portrait - Charcoal by Mino Maccari - 1960s
By Mino Maccari
Located in Roma, IT
Sketched portrait is an original drawing on paper, realized around the Seventies by the great Italian artist and journalist, Mino Maccari (Siena, 1898 ...
Charcoal
Anne Hyde, Duchess of York; King James II
By Sir Peter Lely
Located in London, GB
After Sir Peter Lely 1618 - 1680 Anne Hyde, Duchess of York; King James II Pencil, ink and white chalk on paper, Image size: 10 x 8 inches (25.5 x 20.5 cm) Original frame This work,...
Paper, Chalk, Ink, Pencil
$24,736
H 15.01 in W 10.75 in
Giacomo Cavedone (1577 – 1660) Head of an Old Man, Old Master Drawing
Located in Paris, Île-de-France
Giacomo Cavedone (Sassuolo 1577 – Bologne 1660) Head of an Old Man, probably Saint Joseph Black chalk with white heightening on brown prepared paper 381 × 273 mm (15 × 10¾ in) Unsi...
Chalk
$2,745
H 16.54 in Dm 16.54 in
Summer - Chalk Drawing Design for Minton charger by Herbert Wilson Foster
By Herbert Wilson Foster
Located in London, GB
HERBERT WILSON FOSTER (1846-1929) Summer Inscribed with title beneath the mount Chalk on paper, circular Framed Diameter 42 cm., 16 ½ in. (frame size 61 by 58 cm., 24 by 22 ¾ in.) Herbert Wilson Foster was born in Endon, Staffordshire. He attended Hanley School of Art before continuing his studies in London, Belgium and France. His paintings of rural and domestic subjects were exhibited at the Royal Academy between 1873 and 1899. In 1893 he accepted a teaching position at the Nottingham School of Art, where his pupils included Laura Knight and Harold Knight. Works by him are in the collections of the Minton archives; the Wisbech & Fenland Museum; Leicester Art Gallery; Rushcliffe Council and Nottingham Castle Museum. In addition to his work as a painter he worked as a porcelain painter, working at one point on the tile panels in the Victoria & Albert Museum. He is known to have worked at Mintons from 1872 where he specialized in portraits of contemporary personalities, including members of the Royal Family. This head of a girl was probably intended for a painted ceramic wall charger...
Chalk, Pencil, Paper
$47,117
H 16.93 in W 11.7 in
Jean-Baptiste Greuze Red Chalk Study for the Head of a Child, Jean Gigoux Proven
By Jean-Baptiste Greuze
Located in Paris, Île-de-France
Jean-Baptiste Greuze (Tournus, 1725 - Paris, 1805) Study for the Head of a Child Red chalk on paper, unsigned 16 7/8 x 11 3/4 in 43 x 29.7 cm This tender and highly evocative red ...
Chalk
Charcoal Drawing "Waiting" Pensive Woman Americana WPA Artist
By William Gropper
Located in Surfside, FL
14x11.5 image size , 22.5x17.5 backing size The New-York born artist William Gropper was a painter and cartoonist who, with caricature style, focused on social concerns, and was actively engaged in support of the organized labor movement throughout his career. This original drawing is done in the iconic style of the artist's oeuvre. Surface: Paper (this is being sold unframed) Country: United States Born to Harry and Jenny Gropper in 1897, William was raised in New York City's Lower East Side. His parents were Jewish immigrants from Romania and Ukraine, and young William grew up in relative poverty, watching his family struggle to achieve that sought-after American dream. His father, a bright and college-educated man, was unable to find employment that worthy of his intellect. His mother, meanwhile, worked as a seamstress from home. Coupled with the devastating loss of an aunt to the infamous Triangle Factory fire of 1911, significant childhood factors created the foundation that led to Gropper’s exploration of the American experience. Early on, Gropper displayed an extraordinary, natural skill for art. By 1912, he was already studying under the instruction of George Bellows and Robert Henri at the Ferrer School in Greenwich Village. During his time at school, Gropper was also awarded a prestigious scholarship to study at the National Academy of Design. However, he refused to fit into convention and was swiftly expelled from the Academy. After his expulsion, Gropper returned home to help financially by assisting his mother and taking a shop position. However, he didn't abandon art academia and soon presented a portfolio to the New York School of Fine Art which earned him a scholarship for study. Gropper obtained his first significant job as a cartoonist for the New York Tribune in 1917. While working as a staff cartoonist for the Tribune, he also contributed drawings to publications like Vanity Fair, New Masses, The Nation, and Freiheit. His interest in the welfare of the American worker, class inequality, and social injustice was central in his work. After publishing the graphic novel Alley Oop in 1930, Gropper's illustration career extended well into the decade. However, he was never exempt from controversy, and his 1935 Vanity Fair cartoon; prompted anger from the Japanese government. As an involved labor organizer and Social Realist activist, Gropper continued to bring attention to his radical reputation with visits to the Soviet Union and Poland. However, his concern with European politics and U.S. social causes didn't slow down his artistic career, and by the late 1930s, he had produced significant murals for American cities like Washington D.C. His 1938 mural Construction of a Dam was commissioned for the Department of the Interior and represents the Social-Realism style that depicts experiences of the worker and everyday societal life. Measuring at a staggering 27ft by 87ft, the piece portrays muscular, robust American laborers scaling rocky hillsides, building infrastructure, and operating heavy machinery. The mural feels undeniably American with golden scenery, denim blues, and steely gray colors. Gropper fits perfectly into Social-Realism because the style exhibits an illustrative flair with strong lines and simple, bold hues. The inspiration for Construction of a Dam sprang from his 1937 travels to the poverty-stricken Dust Bowl area. The trip was sponsored by a Guggenheim Foundation Fellowship, and his drawings of the Grand Coulee and Boulder Dams...
Charcoal