In our third installment in a series of small online exhibitions, the focus is on drawings. Many of the printmakers we represent at the gallery didn’t stick to one medium. Most of them were painters, sculptors, muralists, photographers, and more– and all of them drew. We’ve put together this latest collection to show the artist capturing a moment. In keeping with our goal, we’ve selected a wide sample of styles in order to open up our expansive inventory to the public.
Under each image we’ve provided a little bit of information on the piece, with a link to the work on our website. There, we provide biographies when available, as well as any other pertinent information we couldn’t fit here. If you have any questions, just let us know.
Rowena Meeks Abdy (American.: 1887 – 1945): San Juan Bautista, drawing in charcoal; 1925; Gordo 890; signed in image, lower left; 18-3/4 x 24-5/8″ image size. This drawing was exhibited at the Art Institute of Chicago and the Arizona State Fair in 1925.
Gus Arriola (American: 1917 – 2008): Gordo – 9-panel Sunday strip for April 3, by Munaymis Muhd, drawing in ink and red pencil; 1960; Gordo 890; ink signed; published by United Feature Syndicate, Inc.; 15-3/8 x 22- /4″ image size. “Gordo” was Arriola’s most well known strip, running from 1941 to 1985.
Hans Bellmer (American: 1902 – 1975): Surreal Landscape, graphite drawing; 1969; pencil signed; 5-7/8 x 7-1/8″ image size. Illustrative of Bellmer’s delicate geometric and physiological infusions, this surrealist landscape was one of the artist’s last drawings before his stroke in October of the same year.
Pamela Boden (British/American: 1905 – 1981): Ischia, ink and graphite drawing; ca. 1939; pencil initialed, lower right; 13-1/2 x 20-3/4″ image and paper size. Boden spent many years traveling and studying. This surreal study may have been done on the island of Ischia, and echoes her geometric sculpture work.
Arturo Bustos (Mexican/Amer.: born 1926): Untitled Landscape, ink drawing; ca. 1950; pencil signed; 8-1/2 x 11″ image size. This tonal and quiet Mexican landscape is a gentle departure from the politically fueled imagery Bustos became known for.
Alfred Gaspart (French: 1900 – 1993): Viticulture (heading the vines), pencil drawing with watercolor washes; monogram stamp in image; 15-3/8 x 11-1/4″ image size. An avid sketcher, Gaspart documented his accidentally tumultuous life on a near-daily basis. Gaspart’s collection of viticulture drawings, of which this is one, may have been done for future murals or posters.
Robert Genin (Russian: 1884 – 1943): Untitled portrait, sepia ink drawing; 1914; signed in blue crayon; 9-3/16 x 8″ image size. Genin’s contemplative chiaroscuro portrait showcases the use of one ink and simple line.
Nicolai Hammer (American: 1887 – 1970): Untitled (passage through garden wall), graphite drawing; 1922; from the collection of critic Georg Brochner; 6-7/8 x 8-3/8″ image size. A simple, everyday, elegantly sketched, draws the viewer in.
William Hentschel (American: 1892 – 1962) Untitled (three cows), ink drawing; ca. 1935; pencil signed; 14 x 16″ image size. The designer and printmaker made excellent use of pattern to create form, simplifying the line to a few minimal strokes.
Bertha Lum (American: 1869 – 1954): Kara Kota: The Story of a Lost City the Wind Buried, graphite drawing with gouache highlights; ca. 1910; pencil signed; 14-3/4 x 13″ image size. Ukiyo-e woodcuts and the daily lives of the people she met traveling through China and Japan inspired the work of Bertha Lum. Here, she elegantly illustrates a Chinese legend using only a pencil and a bit of white gouache.
Eric Macky (American: 1880 – 1958): Fountain of the Panama Pacific Exposition, study for monotype; pencil and conte crayon drawing; 1915; “Singular Impression” 1977, p. 105; unsigned; 10-5/8 x 8-1/4″ image size. This exceptional, fantasy-like drawing was the precursor to a monotype Macky created of a fountain erected at the famous 1915 exhibition in San Francisco. They are sold as a pair on our website.
Edmund Osthaus (American: 1859 – 1928): Untitled (On Point), ink wash drawing; ca. 1900; ink on watercolor paper; pencil signed; 3-3/8 x 3-3/8″ image size. Osthaus’s eye for detail and expert utilization of tone create great impact in a small space.
Bouvy Passy (French: active early 20th century): Parisienne No. 12, ink drawing; 1917; pencil signed; 14-1/2 x 8-1/2″ image size. Bouvy Passy flirty, fashionable figure was created for La Vie Parisienne, a magazine of upper class fashion and art life that highlighted the works of leading illustrators and artists. “Bouvy Passy” may have been a pseudonym, as there is no information found on the artist.
Richart Axel Poulsen (Danish: 1887 – 1972) Marmorgruppen, conte crayon drawing; 1929; crayon signed; 8-5/8 x 6″ image size. This elegant study of a loving embrace was probably done as a study for his sculpture “Marble Group,” completed in 1936.
Augusta Rathbone (American: 1897 – 1990): St Jeannet, French Riviera, crayon, gouache, and ink drawing; ca. 1935; pencil signed; 10-1/2 x 14-1/2″ image size. Known primarily for her color etching and aquatints, this study, for the print of the same name, highlights a more complex side of Rathbone’s eye for landscape composition.
Poul Rytter (Danish: 1895 – 1965): Untitled (Three parrots), ink drawing; 1922; ink signed; from the collection of Danish critic Georg Brochner; 6-3/8 x 5-1/2″ image size. Perhaps these three birds are having a conversation; perhaps they are studies of various species of parrot. Either way, this charming ink sketch displays the artist’s wonderful ability to capture animal behavior.
Doris Seidler (American: 1912 – 2010): Untitled abstraction, ink and pencil drawing with watercolor washes; 2001; pencil signed; 13-5/8 x 18-13/16″ image size. Seidler was active until near the time of her death at age 98 in 2010. This vibrant abstract attests to her extraordinary, unflagging artistic pursuit.
Johannes Christoph Senn (Swiss: 1780 – 1861): Chaldan, drawing (study for companion engraving); 1849; ink signed; 5-15/16 x 3-1/8″ image size. The drawing, shown alongside the engraved executed later and published by Carl Mayers Kunst-Anstalt, displays Senn’s extraordinary mechanical skill and eye for tone.
Fronzell “Doc” Spellmon (American: 1844 – 1930): Texas Emancipation Day (Juneteenth), pen and ink drawing; 1983; ink signed; 8-7/8 x 10-9/16″ image size. Spellmon’s celebratory composition commemorates the June 19th, 1865 Galveston, Texas observance of the ending of slavery in the US.
Arthur Stewart (British: 1877 – 1941): Untitled (dog), drawing with watercolor wash; 1922; pencil signed; from the collection of Danish critic Georg Brochner; 5 x 6-5/8″ image size. Just a splash of color here and there within delicately drawn line creates a handsome portrait of an alert, happy dog (or fox?).
Georg Tappert (German: 1880 – 1957): Untitled portrait, brush drawing in ink, with watercolor washes; 1931; signed in pigment; 13 x 9-1/8″ image size and paper. This portrait was done while Tappert was teaching at Staatliche Kunstschule, not long before he was ostracized by oppressive Nazi artistic ideals, when most non-classical art forms were banned.
Sam Tchakalian (American: 1925 – 2004): Untitled abstraction, ink and brush drawing; 1984; pencil signed; 22-3/8 x 30″ image size. A departure from the delicate studies shown thus far, this broad-stroke ink brush drawing in directly in keeping with Tchakalian’s painting and printmaking aesthetic.
Georges Villa (French: 1883 – 1965): Prince Don Jaime de Bourbon, ink drawing; 1906; singed in ink, lower right; 7- 1/4 x 5-7/8″ image size. This caricatured portrait of the Spanish prince sometimes known as Jaime de Bourbon y Borbon Parma, was found in San Francisco among the personal belongings of Russian General d’Osnobichine – a friend of Villa, and an artist himself.
June Claire Wayne (American: 1918 – 2011): Study for “The Saint and the Sinner #4” from the “Fables Series”, litho crayon, ink, and ink; 1956; Conway 102.1, JD.5390-4; 22-15/16 x 29″ image size. A stunning, dramatic study for a lithograph portfolio that was never executed, the drawing was listed in the catalog as lost at the time of its publication. The diffused effect in the light and shadows was created using a Flit gun.
William T. Wiley (American: born 19347): Coal Train Not Quite Out of the Picture, ink drawing with watercolor; 1983; ink initialed, lower left; 11-1/8 x 8-1/2″ image size. A wonderful representation of Wiley’s role in the “Funk Art” movement, combining a surreal/symbolic composition with classical technique.
This concludes Part III of our Treasure Hunt.