Watercolor Drawings and Watercolor Paintings

Johannes Friedrich Heinrich Hänsch (1875-1945), Red blooming war landscape with dead soldier, 1918. Watercolor and gouache on paper, 15 x 24.5 cm (image), 27 x 37 cm (sheet size / frame), monogrammed and dated "19JH18" at lower left. - Paper slightly darkened About the artwork Despite the relatively small format, the watercolor with an internal frame depicts a panoramic view of a flat landscape stretching to the horizon. As far as the eye can see, the poppies bloom in flaming red. The flowers are not rendered individually, however, creating an almost cohesive red surface. The bright red is interspersed with vegetal green. A complementary contrast that creates an intense color effect. In this color contrast, a white area breaks through from the middle ground, widening towards the foreground and surrounding a brown hole. Next to it, in blue, is the actual protagonist of the painting, the first thing that catches the eye: a dead soldier. Next to him is his helmet, revealing the empty interior. The brown, hollow shape corresponds to the hole in the ground. A shell funnel is surrounded by bright ash, which, like the inverted helmet, becomes a sign of death. The soldier's arms point to the funnel, while the empty helmet paraphrases the calotte of the skull and, like the funnel, thematizes the empty darkness of death. The soldier's body, however, is intact and not - as in Otto Dix's triptych "The War" - a dismembered corpse. Instead, Johannes Hänsch activates the landscape, especially the color, to illustrate a blooming landscape of death that extends from the shell funnel in the foreground to the rising column of smoke on the horizon. If the soldier's body is intact, the tangle of barbed wire emblematically placed over the empty helmet also appears tattered. On the right side of the picture, the barbed wire even seems to stretch its arms to the sky in horror. Against the background of this allegory, the content of the bright red also becomes clear: the landscape is drenched in blood, literally a sea of blood, and the single unknown soldier stands pars pro toto for all those who died on the battlefield. Dying in war is not dying in community, but in solitude. In order to emphasize the isolation in death, Johannes Hänsch has set the blue of the soldier in the axis given by his body in the middle ground of the picture into the red sea. A master of landscape painting, Hänsch succeeds in creating a natural-looking landscape allegory that illustrates the horror and death of war, without depicting the brutality of war itself. This singular 'war memorial' of the unknown soldier is the opposite of heroization and yet the dignity of the deceased soldier is preserved through the integrity of his body. About the artist As the son of the sculptor Adolf Haensch, the young Johannes received his first artistic training in his father's Berlin studio. However, he eventually decided to become a painter, and in 1897 he entered the Berlin Academy of Arts. He initially studied under Paul Vorgang and Eugen Bracht, and was particularly influenced by Bracht's increasingly colourful landscape painting. In 1901 he moved to the class of Friedrich Kallmorgen, with whom he spent several weeks on excursions into nature. In 1905 he became a master pupil of Albert Hertel, who taught him watercolour painting. From 1903 to 1933 he exhibited annually at the Great Berlin Art Exhibition, the exhibitions of the Berlin Artists' Association and the Munich Glaspalast. In 1905 he was awarded the Carl Blechen...

Black Woman's Beauty by Lu Haskew Watercolor Portrait 10x8" image size 20x18" framed (behind glass) Shipping price includes the custom packing necessary for safe transport of fine art. ABOUT THE ARTIST: Lu Haskew 1921-2009 "Life is good to me. Being able to go to my studio five days weekly and paint for several hours, living in a supportive community, having family and friends who encourage me--all have contributed to helping me become an artist. Being fortunate to study with some of the artists I admire has kept me painting from the garden, people and my favorite things. With the support of galleries, teaching and doing demos, how could I do anything else? My goal is to try to be the best I can be by always being a student, looking for new ideas and stretching my horizons." Upon retirement from a 33-year teaching career, Lu rented a studio in Loveland and began concentrating on her oil and watercolor painting. Learning from artists she had followed and admired throughout the years her painting became a full time career that lasted 17-years. Beginning in 1992, she studied with renowned painters Richard Schmid, Clyde Aspevig, Joyce Pike...

Baigneuse dans un cours d'eau by Georges Manzana Pissarro (1871-1961) Gouache on paper 49.5 x 36 cm (19 ¹/₂ x 14 ¹/₈ inches) Signed lower left, manzana - Pissarro This work is accom...

Bridge Painter WPA American Modernism Mid 20th-Century Realism Industrial Worker. Sight size: 18 x 23 1/4 inches. Estate stamped verso. This drawing is the study for a large oil we ...

Pierre MONTHEILLET (1923-2011) Composition in green and yellow Watercolor and gouache on paper Signed lower left Dimensions of the work: 50 x 65 cm Dimensions of the frame: 60 x 80 c...

"Flowers" by Marie-Amelie Chautard-Carreau (French, 19th/20th century) set of 3 watercolour on paper, unframed Left: 8.25 x 5.5 inches, signed lower right Top Right: 3.5 x 5.25 inch...

"Mademoiselle X" story illustration for Vogue February 1, 1934, watercolor and ink, reverse signed in pencil "Benito for Madame X," pencil inscription "Feb.1, 1934 / Page 51 / 316," ...

Gouache on a watercolor paper Eter Merkviladze is a Georgian female artist born in 1999 who lives and works in Tbilisi, Georgia. She was graduated from Robert Schuman European Schoo...

Charles Demuth was one of the most complex, talented, and deeply sensitive artists of the American modern period. Whether he was painting floral still lifes, industrial landscapes, or Turkish bathhouses, art was, for Demuth, fraught with personal meaning. A fixture of the vanguard art scene in New York, Demuth navigated the currents of Modernism, producing some of the most exquisite watercolors and original oil paintings in twentieth-century American art. Demuth was born in Lancaster, Pennsylvania, the only child of a well-to-do family. He had an awkward and introverted childhood shaped by a childhood illness, Perthes, a disease of the hip that not only left him permanently lame, but, as part of the “cure,” bedridden for two years in the care of his mother. This long period of incapacitation had a deep impact on Demuth, who came to see himself as an invalid, an outsider who was different from everyone else. It was perhaps during this period of indoor confinement that his keen interest in art developed. Several relatives on his father’s side had been amateur artists, and, following his convalescence, his mother encouraged his artistic pursuits by sending him to a local painter for instruction. The majority of his early pictures are of flowers, a subject for which Demuth maintained a lifelong passion. Following high school, Demuth enrolled at the Drexel Institute of Art in Philadelphia, a school renowned for its commercial arts program. He advanced through the program rapidly, and, in 1905, at the encouragement of his instructors, he began taking courses at the Pennsylvania Academy of the Fine Arts. The two leading teachers then at the Academy were William Merritt Chase and Thomas Anshutz. Anshutz, himself a former student of Thomas Eakins, was well liked by his students, and is best known as the teacher of Robert Henri, John Sloan, and several of the other artists of the Ashcan School. Demuth, too, adopted a similar idiom, working in a controlled, realistic manner while at the Academy, where he remained until 1910. In 1907, Demuth made his first trip to Europe, staying in Paris. He spent time on the periphery of the art scene composed of the numerous American artists there, including John Marin and Edward Steichen. He returned to Philadelphia five months later, and immediately resumed courses at the Academy. Despite his introduction to advanced modern styles in Europe, Demuth’s work of this period retains the academic style he practiced before the trip. It wasn’t until he had summered at New Hope, Pennsylvania, in 1908 and 1911, that his style began to evolve. New Hope was a prominent American Impressionist art colony whose members were largely affiliated with the Pennsylvania Academy. Demuth dropped the conservative tone of his style and adopted a freer and more colorful palette. Although he remained based in Philadelphia, Demuth frequently went to New York during this period. Many of the same American artists of the Parisian art scene Demuth had encountered on his earlier European trip now formed the nucleus of New York’s avant-garde, which centered around Alfred Stieglitz’s 291 gallery. It wasn’t long before Demuth began to apply modernist-inspired strategies to his work. He was particularly influenced by the watercolor work of John Marin, also a former student of Anshutz, whose bold use of color in the medium Demuth freely adapted into looser washes of color. In 1912, Demuth again left for Paris, this time studying in the Académie Moderne, Académie Colorossi, and Académie Julian. In Paris Demuth met the American modernist Marsden Hartley. Hartley, a principal figure in the expatriate art circle, acted as a mentor to Demuth, and introduced him to the wide array of modern styles currently practiced in Europe. Hartley also introduced Demuth to many of the members of the Parisian avant-garde, including Gertrude Stein. Demuth was an aspiring writer, and he spent many hours in conversation with Stein. He wrote extensively during this period, and published two works shortly after his return to America. He also developed an interest in illustrating scenes from literary texts. From 1914 to 1919, Demuth produced a series of watercolors of scenes from books such as Emile Zola’s Nana and Henry James’s The Turn of the Screw. Upon his return to America, Demuth settled in New York. In 1914, Demuth had his first one-man show at Charles Daniel’s gallery, which promoted emerging modern American artists, including Man Ray, Rockwell Kent, Yasuo Kuniyoshi, Stuart Davis, and Max Weber. Demuth drew closer to the artistic vanguard in New York, becoming friends with many in the Stieglitz and Daniel circles, including Georgia O’Keeffe, Marcel Duchamp, Carl Van Vechten, and Edward Fiske. New York’s cosmopolitan atmosphere and active nightlife appealed greatly to Demuth. In a sketchy style well suited to watercolor, he painted many vaudeville and circus themes, as well as nightclub, café, and bathhouse scenes. Often with Duchamp, Demuth took part in an urban subculture replete with nightclubs, bars, drugs, and sexual permissiveness, which, for a homosexual artist like himself, allowed room for previously unattainable personal expression. Demuth’s pictures of sailors, bathhouses, and circus performers embody a sensual and sexual undercurrent, expressing the artist’s sense of comfort and belonging in the bohemian subculture of New York. Simultaneously, Demuth deepened his interest in floral pictures, painting these almost exclusively in watercolor. His style evolved from the broad color washes of his earlier pictures to more spare, flattened, and sinuous compositions, inspired by the drawings of Aubrey Beardsley and other artists of the Aesthetic Movement. Demuth’s flower watercolors are moody and atmospheric, sensuous and elegant, introspective and yet full of expressive power. Moreover they are beautiful, and are unequivocally among the finest still lifes in American art. Despite numerous subsequent artistic undertakings that led him in a variety of directions, Demuth never stopped painting flower pictures, ultimately adding fruits and other still-life objects to his repertoire. In 1916, Demuth began to develop a style later known as Precisionism, a form of landscape painting infused with Cubism, in which space is divided into precisely drawn geometric regions of color. Demuth first began to paint the landscape in an appropriated Cubist mode while on a trip with Hartley to Bermuda. In these early landscapes, in which the curvilinear forms of trees intersect the geometrically articulated architectural forms, Demuth explored ideas that shaped the future development of modernism in America. The full realization of Demuth’s explorations came after his return to America in 1917, when he turned his attention to industrial subjects. These works derive from a “machine aesthetic,” espoused by New York artists such as Francis Picabia, Joseph Stella, Albert Gleizes, and Duchamp, by which artists viewed machines as embodying mystical, almost religious significance as symbols of the modern world. Rather than painting the skyscrapers and bridges of New York as did most of his like-minded contemporaries, Demuth returned to his home town of Lancaster, where he painted factories and warehouses in a Precisionist idiom. The titles for these pictures are often contain literary references, which serve as clues for the viewer to aid in the decoding of the artist’s meaning. In 1923, Demuth planned a series of abstract “poster portraits” of his friends and contemporaries in the New York art and literary scene. In these “portraits,” Demuth combined text and symbolic elements to evoke the essential nature of his sitters’ distinguishing characteristics. In this fashion, he painted portraits of such artists as Georgia O’Keeffe, John Marin, and Arthur Dove. His most famous poster portrait, I Saw the Figure 5 in Gold...

Hill 1967, paper/watercolor, 30.5x43 cm Herberts Mangolds (1901-1978) Graphic, army officer. In 1920 he graduated from the Artillery Cadet School of Latvian and many military cours...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell o...

The portrait shows Mme Silvestre. Born in Paris, Silvestre was the daughter of Charles-Antoine Hérault and his wife Marie-Geneviève, who were her first teachers. In 1706 she married the painter Louis de Silvestre, moving with him in 1716 to Dresden. The couple's daughter Marie-Maximilienne became a pastellist. Silvestre died in Dresden, the year before her husband retired and returned to Paris. Her surviving pastels show the influence of Rosalba Carriera...

Modern orange, brown, yellow, and black geometric abstract composition by textile designer John Little. The work was created as a proposed design for a wallpaper and features the original color codes in the front lower left corner. Currently hung in a solid black frame with a large white margin. Dimensions Without Frame: H 35.5 in. x W 33.5 in. Artist Biography: A painter and textile designer, John Little is best known for gestural works filled with boldly explosive color that reflect the influences of his teacher Hans Hofmann and for his involvement in the Abstract Expressionist movement in East Hampton, where he moved in the late 1940s. In East Hampton Little congregated with Jackson Pollock, Lee Krasner, and the other artists who were the leading innovators in the New York School. John Little was born in Sanford, Alabama. He left home at the age of fourteen to become an artist, and moved to Buffalo, New York, in 1923. After spending a year working as a stevedore on the docks to save money, he enrolled at the Buffalo Fine Arts Academy and developed an interest in singing. In 1927 he moved to New York City where he continued his vocal work and studied operatic literature. He also became involved in textile design, opening his own store in 1920, called John Little Studios: Fabric and Wallpaper Design. He ran the store until 1950. In 1933 John Little resumed his painting studies at the Art Students League in New York under the guidance of George Grosz (1893-1959). The following year he made his first visit to East Hampton, Long Island, which he would eventually call home. Later in the decade, he traveled to Paris where he became familiar with European modernism. On his return to America, he taught textile design at the Pratt Institute in Brooklyn. He hired Josephine Watkins to work for him; she later became his wife. Little's textile store and teaching job gave him a financial security that was rare during the Depression, and he never found it necessary to find employment with the Works Progress Administration. At the end of the decade, John Little studied with Hans Hofmann (1880-1966) in New York and Provincetown. Little was greatly influenced by Hofmann, particularly by his views on color theory. In 1942 John Little joined the Navy as an aerial photographer. In the late 1940s he purchased a rundown house on Three Mile Harbor...

William Black (British, Fl. 1963 – 69) Doorway Ink and watercolour on paper Signed, inscribed and dated ‘Doorway William Black 64’ (lower edge) 7.1/2 x 4.7/8 in. (19.2 x 12.4 cm.) (to site edge) William Black is a little known and underrated member of the St Ives artist group who, having worked as an architect after the Second World War, went on to work as an artist following the inheritance of money in the early 1950s. He was a self taught artist, producing numerous deconstructivist sculptures in the 1960s. He moved to St Ives in Cornwall where he knew artists such as Ben Nicholson, Barbara Hepworth and Naum Gabo. There is a clear architectural element to the sculptures that he made . They illustrate an assemblage of fragmented shapes and forms of a deconstructivist nature. William Black’s artwork is very much rooted in the time and Cornish School so one can see elements from those such as Wilhelmina Barns Graham...

This captivating piece titled 'Orange Bikini Swimmer on the Sand' beckons for a contemplative pause. The figurative drawing in watercolor, with ink accen...

A modern British landscape depicting snow coveredfields on a clear winter's day. Presented in a complimenting contemporary frame with a crisp white mount. Signed with initials and da...

Richard Taylor is one of the great Cartoonists. He is celebrated for his dry sense of humor and skill in depicting people in subtle narratives. His instantly recognizable style is ...

Xiao Wen Xu's artistic practice is deeply influenced by her profound appreciation for the natural world. This artwork is part of her "Rainbowland Land" series. Through a masterful bl...

Charming, vibrant watercolor painting of a small California gold rush town by Diane Baldwin (American, 20th Century), 1970. Signed "Baldwin" lower right....

Unique, one of a kind original gouache on paper from Harper's Bazar series. Hand signed lower front by Erte; titled top front with studio catalog number on verso. Sheet size 10.7...

Watercolor and Ink on paper Fred Borghesi is an Italian artist born in 1987 who lives and works in London, UK. He is above all a multidisciplinary artist, constantly switching betwe...

Artist: Gillie Cawthorne (English, 1963-) Title: "Glen Lyon, Scotland" *Signed and dated by Cawthorne lower left Year: 2010 Medium: Original Watercolor on paper Framing: Not framed, ...

Paul Cézanne Le Sentier ca. 1890 Watercolour and pencil on paper 34.6 x 51.5 cms (13 5/8 x 20 1/4 ins) PC16325

A delightful landscape from English artist George Henry Downing (1878-1940). Here Downing has depicted an autumnal woodland, with two figures walking away from the viewer. Downing's ...

In "Horses Grazing," Donald Crosby Brown transports viewers to a peaceful, sunlit meadow where two well-fed horses graze contentedly. The scene is rich with greens and yellows, sugge...

Artist: Ken Burton (English, 1946-) Title: "Greatford, Somerset" *Signed by Burton lower right Year: 1988 Medium: Original Watercolor on heavy wove paper Framing: Not framed, but beautifully matted with hand decorated archival French matting Matted size: 18" x 20" Image size: 9.5" x 12.5" Condition: Never framed, has been professionally stored away for decades. In mint condition Notes: Provenance: acquired directly from the artist Burton himself in the 1980's. Somerset is a county in South West England which borders Gloucestershire and Bristol to the north, Wiltshire to the east, Dorset to the south-east and Devon to the south-west. It is bounded to the north and west by the Severn Estuary and the Bristol Channel, its coastline facing southeastern Wales. Biography: Born in Peterborough in 1946, Ken Burton's interest in art began at school and led him to an initial choice of career in design and engraving, in which he trained with Joseph Hules, in London. He left in 1970 to enter public service (The British Police...

Original Painting. Vanity Fair Illustration Proposal. Art Deco Modern 1930s Antonio Petruccelli (1907 - 1994) Vanity Fair Illustration proposal, c 1930’s 18 X 13 3/4 inches (sight) ...

George Edwards: "A History of Uncommon Birds", 1749-1761. A prominent English naturalist and ornithologist, George Edwards (1694 -1773) is best known for his work, ""A Natural Histo...

40”x29.5” (artwork size) watercolor on paper, signed on reverse framed (presented in a black finish, shadowbox frame) In this original watercolor painting, a leopard sits on a Red,...

To see our other views and maps of England - including London, Durham, Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this Seller" -...

ABSTRACT American Woman Abstract Non-objective Mid 20th Century Modern Drawing Irene Rice Pereira (1902-1971) Abstract 8 1/2 x 5 1/2 inches Watercolor, gouache, and ink on black paper Signed lower right Framed by Bark BIO rene Pereira was born in 1902 in Chelsea, Massachusetts and grew up in Great Barrington. She was strongly influenced by her mother who was an amateur artist. Irene began art lessons at the age of fifteen; she took a secretarial job because her father had died. She took art classes at the Art Students League in New York City. At the age of twenty-one she married the first of three husbands, Humberto Pereira, whose name she kept. She traveled extensively in Europe and North Africa and was much inspired by the expansive vistas of the Sahara Desert. Returning to New York, she began incorporating these visions into her work, increasingly experimental in her styles and methods. At first she painted on canvas, then she devised a means of actually incorporating light into her works by painting on layers of glass and mounting the layers together. In 1942 she married George Brown, an engineer, who helped her experiment with a variety of materials. By the 1950s she became more interested in writing poetry and, divorced from Brown in 1952, she married George Reavey, an Irish Poet...

Louis Gallait (1810-1887) Portrait of a Gentleman, Watercolor and gouache on paper, square white lines, 24 x 16 cm Stamp of the Louis Gallait Estate on the mount on the lower righ...

"The Gift," an original watercolor on paper by William Verdult, is a piece for the true collector. The artist's genius reflects a fiery artistic approach that inspires unexplored fee...

MELA MUTER 1876-1967 (Maria Melania Muter) Warsaw 1876 - 1967 Paris (Polish) Title: Port in Saint Tropez, 1920 Technique: Signed Watercolour and Ink on Thick Textured Card Size: ...

Watercolour with touches of bodycolour on buff paper, signed lower middle and inscribed and dated '1839' lower left Image size: 8 1/2 x 12 1/4 inches (22 x 31 cm) Acid free mount and period style gilt frame This original watercolour by Roberts depicts the temple at Baalbek with the ruined palace behind, seen from the opposite bank of a brook, where a group of figures are seated and kneeling around a table, with an arched bridge nearby. David Roberts was the first professional British artist to travel independently to the Middle East in 1838. He was the first British artist to draw the ruins of Ancient Egypt and Roberts produced a series of finished watercolours, including the painting, which he had worked up from sketches made during his tour. Like many British artists he used the familiar visual language of European landscapes to capture the unfamiliar scenery. By using architectural motifs to provide structure to compositions like this he is able to present a dramatic scene of classical grandeur, illuminated by sunlight complemented by a large area of shade in the foreground. The dramatic scene is enhanced by the three groups of figures, which convey the sense of scale. The figures also give the picture richer, darker and redder tones that contrast with the sandy colours of the architecture. This painting uses a lot of the essential ingredients that make up a picturesque scene: distant mountains, classical ruins and figures for human interest and to convey motion. Robert's Trip to Baalbek David Roberts visited Baalbek near the end of his travels around Egypt and the Middle East. Roberts and his party rode to the site of Baalbek on 2nd May in a heavy-rain storm. He was miserable, totally drenched and feverish. But the sight of the ancient Roman settlement rallied him. Despite his physical debilitation, 'I was... so much struck with the magnificence of the temple, that I could not resist visiting and examining it'. The storm then continued through the night, pummelling the traveller's tents. In the morning, Roberts felt extremely ill and sought the help of a Greek priest, who found him dry shelter in a cowshed. For the first time on his gruelling journey, Roberts devoted the whole day to bed rest. On May 4th, regaining some strength, Roberts explored the site. With obscure origins connected with the god Baal, the city of Baalbek had grown to importance in Hellenistic times, when it was known as Heliopolis ('The City of the Sun'). In the first century B.C. the Romans had established a cult of the Heliopolitan Jupiter there, and both Josephus Flavius...

Date: 1990 Medium: Ink and Watercolor on Board Dimension: 8.5" x 8.5" Signature: Signed Lower Left Jack Davis LSU Tigers College Football Illust...

A fantastic original painting on paper by an unknown but highly talented artist. This work is signed lower right what appears to be Chappell, although the exact artist has not been ...

Searching the Waters ​by Lu Haskew Pastel 18x22" image size, 26x30" framed Figurative Portrait of young children on a dock looking into the water. ABOUT THE ARTIST: Lu Haskew 1921...

This is a panel painted with gouache on paper that was painted by Paul de Cayeux. He was a french painter and decorator. This suite comes from an old restaurant and ball room in Nice...

Excellently presented in a fluted frame with dark wood edges and a painted wood slip. Signed indistinctly. On watercolour paper.

Eve Nethercott, American (1925 - 2015) - Woodstock (77), Year: 1958, Medium: Watercolor, Size: 14 in. x 20 in. (35.56 cm x 50.8 cm), Description: Eve Nethercott's serene depict...

Eve Nethercott, American (1925 - 2015) - Seaside (76), Year: 1958, Medium: Watercolor, Size: 15 in. x 22 in. (38.1 cm x 55.88 cm), Description: Populated with rocks and tide po...

Eve Nethercott, American (1925 - 2015) - House (46), Year: circa 1959, Medium: Watercolor, Size: 9 in. x 12 in. (22.86 cm x 30.48 cm), Description: Looking toward the white hou...

Eve Nethercott, American (1925 - 2015) - Forest Floor (P1.27), Year: circa 1960, Medium: Watercolor on Paper, Size: 15 x 22 in. (38.1 x 55.88 cm), Description: Scattered with...

Eve Nethercott, American (1925 - 2015) - Roses and Irises in Vase (P1.22), Year: 1957, Medium: Watercolor on Paper, Size: 22 x 15 in. (55.88 x 38...

Eve Nethercott, American (1925 - 2015) - Spotted Lilies in Vase (P1.16), Year:, Medium: Watercolor on Paper, Size: 22 x 15 in. (55.88 x 38.1 cm), ...

Eve Nethercott, American (1925 - 2015) - Canal (P2.51), Year: 1947, Medium: Watercolor on Paper, Size: 13 x 12 in. (33.02 x 30.48 cm), Description: Viewed through the shimmer...

Eve Nethercott, American (1925 - 2015) - White Vase of Flowers (P2.47), Year: 1960, Medium: Watercolor on Paper, Image Size: 19 x 13 inches, Size: 22.5 x 15 in. (57.15 x 38.1...

Eve Nethercott, American (1925 - 2015) - Vase of Spring Flowers (P2.48), Year: circa 1960, Medium: Watercolor on Paper, Image Size: 21 x 13.75 inches, Size: 22 x 15 in. (55.88...

Eve Nethercott, American (1925 - 2015) - Forest (P2.65), Year: 1958, Medium: Watercolor on Paper, Image Size: 10 x 12 inches, Size: 11 x 13.5 in. (27.94 x 34.29 cm), Descript...

Eve Nethercott, American (1925 - 2015) - Flea Market (P2.45), Year: circa 1960, Medium: Watercolor on Paper, Image Size: 13.75 x 21 inches, Size: 15 x 22 in. (38.1 x 55.88 cm...

Eve Nethercott, American (1925 - 2015) - Bare Tree by Beach (P2.37), Year: 1960, Medium: Watercolor on Paper, Image Size: 14.5 x 21.5 inches, Size: 15 x 22 in. (38.1 x 55.88 ...

Eve Nethercott, American (1925 - 2015) - Wooded Landscape (P3.1), Year: 1958, Medium: Watercolor on Paper, Size: 18 x 23.5 in. (45.72 x 59.69 cm), Description: Peering out in...

Eve Nethercott, American (1925 - 2015) - Fleurs Naturels (P2.53), Year: circa 1960, Medium: Watercolor on Paper, Size: 14 x 11 in. (35.56 x 27.94 cm), Description: Looking do...

Eve Nethercott, American (1925 - 2015) - Mandolin Still Life (50), Year: 1958, Medium: Watercolor, Size: 14 in. x 20 in. (35.56 cm x 50.8 cm), Description: Set on a table befor...

Eve Nethercott, American (1925 - 2015) - Stairway to the Sea (85), Year: 1949, Medium: Watercolor, Size: 15 in. x 18 in. (38.1 cm x 45.72 cm), Description: Leading down to the ...

Eve Nethercott, American (1925 - 2015) - Nissequogue (Hecate's Garden), Year: 1959, Medium: Watercolor, Size: 13 in. x 20 in. (33.02 cm x 50.8 cm), Description: Eve Nethercott'...

Eve Nethercott, American (1925 - 2015) - Flushing Armory (P6.6), Year: 1949, Medium: Watercolor on Paper, Size: 15 x 19.5 in. (38.1 x 49.53 cm), Description: Looking up throu...

Eve Nethercott, American (1925 - 2015) - Alley Pond park (P6.9), Year: 1952, Medium: Watercolor on Paper, Size: 18 x 24 in. (45.72 x 60.96 cm), Description: Reflecting onto t...

Eve Nethercott, American (1925 - 2015) - Flowers (P5.55), Year: 1960, Medium: Watercolor on Paper, Size: 22 x 15 in. (55.88 x 38.1 cm), Description: Pouring over the edge of ...