Still-life Drawings and Watercolors

George Mauersberger (American, 20th Century) Veg 2, 2004 Watercolor on paper 9 x 12 inches 13 x 16 inches, framed George Mauersberger completed th...

George Mauersberger (American, 20th Century) Veg 7, 2004 Watercolor on paper 9 x 12 inches 13 x 16 inches, framed George Mauersberger completed th...

George Mauersberger (American, 20th Century) Veg 3, 2004 Watercolor on paper 9 x 12 inches 13 x 16 inches, framed George Mauersberger completed th...

Eduard Xavier Kapp (British, 1890 – 1978) Rose in bottle Ink pen Signed, inscribed and dated ‘For Paby, no7 out of 7 Kapp. 59’ (lower edge) 11 x 8.1/4 in. (28 x 21 cm.) Edmond Kapp ...

A really striking but calm still life painting by the Modern British artist Bernard Myers. Bernard Myers is a Modern British artist who deserves to be better known. His work succe...

To see more, scroll down to "More from this Seller" and below it click on "See all from this Seller." Hilary Hennes (née Hilary Miller) (1919 - 1993) Design for fruit bowls Waterco...

Eduard Xavier Kapp (British, 1890 – 1978) What’s the Time? Pen and crayon, tondo Signed and dated ‘Kapp 75’ (in the centre) 8.1/2 x 8.1/2 in. (21.6 x 21.6 cm.) Edmond Kapp was born in Islington, London, on 5 November 1890, of American and German Jewish parentage. He gave himself the middle initial ‘X’ – sometimes said to stand for Xavier – to distinguish himself from his father Emil Kapp, who was a wine merchant. However, his parents called him ‘Eddie’ while his wife and friends knew him as ‘Peter’. During his early years, Kapp was continually ill and, while convalescing, entertained himself by drawing at home. As his health improved, he attended Dame Alice Owen’s School, Islington (1903-10), with periods at Berlin University (1909) and L’Institut Français pour les Etrangers, Paris (1909). He then read Languages at Christ’s College, Cambridge (1910-13), though spent most of his time writing and drawing. Kapp took a studio in London, and worked intensively until the outbreak of the First World War, contributing to the Daily News, the Onlooker and other periodicals. During the war, he served as a 2nd Lieutenant in the Royal Sussex Regiment on the Western Front, and then in Intelligence, rising to the position of Staff Captain on Haig’s Staff. Finally, he founded and directed the Neutral Press Counter-propaganda Section. In 1919, Kapp returned to London and, after abortive periods at three art schools, worked alone. In that year, he made his name with an exhibition of caricatures, held at Furst’s Gallery, London, and accompanied by a catalogue introduced by Max Beerbohm. This soon led to contracts with three London periodicals and a book of caricatures, Personalities, published by Martin Secker. Through the 1920s and 30s, his drawings of musicians and other personalities appeared in a wide variety of periodicals, most notably Time & Tide; were collected in further volumes; and were exhibited at the Leicester Galleries. He considered himself to be a ‘character-portraitist’, producing images of psychological not satirical power, and disliking the term ‘caricature’. Between the wars, Kapp developed other aspects of his artistic talents, the desire to study and the search for subject matter often taking him abroad. For instance, work at the British Academy, Rome, under Antonio Sciortino...

DOROTHY FITCHEW (1889-1975) “I Must Go Seek Some Dewdrops Here, And Hang a Pearl in Every Cowslip’s Ear.” Midsummer Night’s Dream, Act II, Scene I Signed l.l.: DOROTHY FITCHEW ...

Barca de Refugiados, 1999 by Celso Castro Crayon and pastel on archival paper Image size: 45 H in. x 59 in. W On the back of the painting: Maranones "Lunes 23 de mayo 2016" Pencil...

Edmond Xavier Kapp (British, 1890 – 1978) Isaac Stern at work Inkpen Signed, inscribed and dated ‘Isaac Stern at work Kapp 51’ (lower right) 17.1/8 x 13.7/8 in. (43.3 x 35.3 cm.) Edmond Kapp was born in Islington, London, on 5 November 1890, of American and German Jewish parentage. He gave himself the middle initial ‘X’ – sometimes said to stand for Xavier – to distinguish himself from his father Emil Kapp, who was a wine merchant. However, his parents called him ‘Eddie’ while his wife and friends knew him as ‘Peter’. During his early years, Kapp was continually ill and, while convalescing, entertained himself by drawing at home. As his health improved, he attended Dame Alice Owen’s School, Islington (1903-10), with periods at Berlin University (1909) and L’Institut Français pour les Etrangers, Paris (1909). He then read Languages at Christ’s College, Cambridge (1910-13), though spent most of his time writing and drawing. Kapp took a studio in London, and worked intensively until the outbreak of the First World War, contributing to the Daily News, the Onlooker and other periodicals. During the war, he served as a 2nd Lieutenant in the Royal Sussex Regiment on the Western Front, and then in Intelligence, rising to the position of Staff Captain on Haig’s Staff. Finally, he founded and directed the Neutral Press Counter-propaganda Section. In 1919, Kapp returned to London and, after abortive periods at three art schools, worked alone. In that year, he made his name with an exhibition of caricatures, held at Furst’s Gallery, London, and accompanied by a catalogue introduced by Max Beerbohm. This soon led to contracts with three London periodicals and a book of caricatures, Personalities, published by Martin Secker. Through the 1920s and 30s, his drawings of musicians and other personalities appeared in a wide variety of periodicals, most notably Time & Tide; were collected in further volumes; and were exhibited at the Leicester Galleries. He considered himself to be a ‘character-portraitist’, producing images of psychological not satirical power, and disliking the term ‘caricature’. Between the wars, Kapp developed other aspects of his artistic talents, the desire to study and the search for subject matter often taking him abroad. For instance, work at the British Academy, Rome, under Antonio Sciortino...

The murder of John Lennon. The birth of my children. Nixon’s resignation. Brain surgery. Driven by the desire to express myself, and leave a physical record of my life and times, I’v...

Plum Branches and Flowers watercolor on wove paper, 1985 Signed and dated in pencil lower right corner From the artist's 1985 sketchbook Inspired by O'Sickey's love of Japanese and Chinese art and calligraphy. Provenance: Estate of the artist Condition: Excellent Image/Sheet size: 13 5/8 x 17 inches Joseph B. O’Sickey, Painter 1974 CLEVELAND ARTS PRIZE FOR VISUAL ARTS The title conferred on him by Plain Dealer art critic Steve Litt in a 1994 article, “the dean of painting in northeast Ohio,” must have pleased Joseph O'Sickey. It was more than 30 years since he had burst onto the local (and national) art scene. O’Sickey was already in his 40s in that spring of 1962 when he had his first one-man show at the Akron Art Museum and was signed by New York’s prestigious Seligmann Galleries, founded in 1888. In the decade and a half that followed, he would have seven one-man shows at Seligmann, which had showed the work of such trailblazing figures as Seurat, Vuilliard, Bonnard, Leger and Picasso, and appear in all of the group shows. O’Sickey took the Best Painting award in the 1962 May Show at the Cleveland Museum of Art (CMA). He and would capture the same honor in back-to-back May Shows in 1964 and ’65, and again in 1967. The remarkable thing, noted the Plain Dealer’s Helen Borsick, was that he accomplished this sweep in a variety of painterly styles, even using that most hackneyed of subjects, flowers. “The subject doesn’t matter,” he told her, “what the artist brings to it is the important thing.” O’Sickey’s garden and landscape paintings were big and bold, eschewing delicate detail in favor of vitality and impact. The great art collector and CMA benefactor Katherine C. White, standing before one of O’Sickey’s vivid garden paintings, compared the sensation to “being pelted with flowers.” Though he might represent an entire blossom with one or two smudged brush strokes or a stem with a simple sweep of green, O’Sickey rejected the moniker of Impressionist—or Pointillist or Abstract painter or Expressionist. “My work,” he said, “is a direct response to the subject. I believe in fervor and poetic metaphor. I try to make each color and shape visible and identifiable within the context of surrounding colors and shapes. A yellow must hold its unique quality from any another yellow or surrounding color, and yet read as a lemon or an object, by inference. It does not require shading or modeling—the poetic evocation is part of the whole.” “The subject,” O’Sickey used to tell his students at Kent State University, where he taught painting from 1964 to 1989, “has to be seen as a whole and the painting has to be structured to be seen as a whole.” He liked to think of it as “a process of controlled rapture.” When, in the 1960s, fond childhood memories drew him to the zoo, he found himself responding to the caged animals in their lonely dignity (or indignity) with sharp-edged, almost silhouette-like forms that evoked Matisse’s paintings and cut-paper assemblages. One observer was left with the impression that the artist had “looked at these animals, past daylight and into dusk when they lose their details in shadow and become pure shapes, with eyes that are seeing the viewer rather than the other way around. This is a world of shape and essence,” wrote Helen Borsick. “All is simplification.” O’Sickey attributed his ability to capture his subjects with just a few strokes—in an almost iconographic way—to a rigorous exercise he had imposed upon himself over a period of several months. Limiting his tools to a large No. 6 bristle brush and black ink, he set himself the task of drawing his pet parakeet and the other small objects in its cage (cuttlebone, feeding dish, tinkling bell) hundreds of times. The exercise gave him “invaluable insights into painting. . . . Because of the crudity of the medium, every part of these drawings had to be an invention and every mark had to have its room and clarity.” Then he began adding one color at a time—“still with the same brush and striving for the same clarity”—and headed off to the zoo where “the world opened up to me. I learned how little it took to express the subject.” Born in Detroit at the close of the First World War, O’Sickey grew up in St. Stanislaus parish near East 65th and Fleet on Cleveland’s southeast side. (The apostrophe was inserted into the family’s proud Polish name by a clerk at Ellis Island.) An early interest in drawing and painting may have been kindled by the presence on the walls of Charles Dickens Elementary School, one of only three grade schools in the district with a special focus on the arts, of masterful watercolors by such Cleveland masters as Paul Travis, Frank N. Wilcox and Bill Coombes. As a youngster O’Sickey took drawing classes at the Cleveland Museum of Art, and he and his brother spent hours copying famous paintings; while a student at East Tech High School in the mid-’30s, he attended free evening classes in life drawing with Travis and Ralph Stoll at the John Huntington Art and Polytechnic Institute, and Saturday classes at the Cleveland School (later the Cleveland Institute) of Art, where he earned his degree in 1940 under the tutelage of Travis, Stoll and such other legendary figures as Henry Keller, Carl Gaertner, William Eastman, Kenneth Bates...

Maranones "Lunes 23 de mayo 2016" by Celso Castro Pencil, crayon, and pastel on archival paper Image size: 59 H in. x 45 in. W On the back of the painting: Barca de Refugiados, 199...

A really striking but calm still life painting by the Modern British artist Bernard Myers. Bernard Myers is a Modern British artist who deserves to be better known. His work succe...

BRITISH SCHOOL (19th Century) Blackberries Watercolour and bodycolour, circular Unframed, in mount only Diameter 8 cm., 3 ¼ in. (mount size 21.5 by 21 cm., 8 ½ by 8 ¼ in.)

An expressive study of tulips in the wind. Presented in a fine black frame. Unsigned. On watercolour paper.

Dear art lover, I have worked on a new series of small oil paintings. This is the one of them. This series is dedicated to the scenes of everyday life. This painting is called "Ju...

A pointillist study of an orange cat sitting playfully in the window of a greenhouse admiring some green chillies. Signed to the lower right corner. On paper.

"Still Life" Abstract Drawing 20" x 12" inch by Nazli Madkour Madkour was born on 25 February 1949 in Cairo, Egypt. She has held solo exhibitions since 1982 in many galleries in Egypt and elsewhere, and her works are held in collections including those of the Egyptian Modern Art...

Pastel and Coloured pencils on Hahnemühle archival paper 300g - Original Drawing, Interior, Flowers Work Title : Bouquet Artist : Gabriel Riesnert (Fr...

A charming gouache study depicting a selection of yellow and white wildflowers in a ceramic vase. The artist captures the still life scene in muted, earthy tones. Signed to the lower...

Alberto Morrocco OBE RSA RSW RP RGI LLD DUNIV (Scottish, 1919 – 1998) Tomatoes gouache on board 11 x 15. ¾in. (28 x 40cm.) Provenance: Alberto Morrocco Studio Sale, Dundee

"Car Museum" is an original signed watercolor by Bruce McCombs. It depicts the front of a gleaming car with other automobile memorabilia with exquisite attention to reflections, ligh...

An early 1940s fashion study featuring an advertisement for Lilly Daché Perfume. Provenance: Cornelia Steckl-Jurin, Founder of the Fashion Department at the School of the Art Instit...

An early 1940s fashion study featuring an advertisement for Elizabeth Arden "Safari" Nail Polish at Marshall Field & Company. Provenance: Cornelia Steckl-Jurin, Founder of the Fas...

Maria C. Bernhardsson is a colorful artist who lives and paints in Sweden. Most of her works are influenced by the architecture and geometry of houses. Bernhardsson travels the world...

Flowers. 2007, paper, pastel, 90x65 cm

Mimosas by Yvon Pissarro (b. 1937) Graphite on paper 65 x 50 cm (25 ⅝ x 19 ⅝ inches) Signed and dated lower left Yvon Vey 2002 Provenance Studio of the artist, Montpellier Artist b...

An early 1940s fashion study featuring an advertisement for Elizabeth Arden. Provenance: Cornelia Steckl-Jurin, Founder of the Fashion Department at the School of the Art Institut...

Inscribed in graphite to the reverse with the artist's name and date. On watercolour paper laid to backing card.

BRITISH SCHOOL (19th Century) Still Life of Cherry and Holly Leaf Watercolour and bodycolour Unframed, in mount only 10.5 by 7.5 cm., 4 ¼ by 3 in. (mount size 25 by 21 cm., 6 by 8...

A graphite on pencil drawing of Surrealist still life of an egg beater by artist Jan Matulka. A leading Modernist, Jan Matulka was born in Prague Czechoslo...

Abstract cubist style still life graphite drawing inspired by Giorgio Morandi's bottle paintings "Morandi 22” by Hudson Valley artist, David Dew Bruner, made in 2023 Graphite and ac...

Small artwork is intimate and can personalize spaces. This classic pink and black pump is an artwork blending acrylic, pencil and color pencils in a loose style keeping it both expre...

Small artwork is intimate and can personalize a space. This classic sling back shoe is perfect for the shoe lover. The artwork blends acrylic, pencil and colour pencils in both an ex...

Well presented in a white card mount. Signed. On watercolour paper.

Signed to the lower right. On high quality watercolour paper.

A substantial and vibrant, botanical watercolor by this well-listed and widely exhibited California woman artist. Signed lower right 'Sally Bookman' (Bri...

Signed with initials to the lower right and signed in pencil in the margin. On high quality watercolour paper.

Signed to the lower right. On paper.

Raymonde Heudebert 1905-1991) Study of a hand holding a cigarette Pencil on paper Annotated “Jean de Vogué” on the back Dimensions of the drawing : 26 x 27 cm Dimensions of the frame...

A graphite on pencil drawing of Surrealist still life of an egg beater by artist Jan Matulka. A leading Modernist, Jan Matulka was born in Prague Czechoslo...

A graphite on pencil drawing of Surrealist still life of an egg beater by artist Jan Matulka. A leading Modernist, Jan Matulka was born in Prague Czechoslo...

A graphite on pencil drawing of Surrealist still life of an egg beater by artist Jan Matulka. A leading Modernist, Jan Matulka was born in Prague Czechoslo...

'Hydrangeas in White' Original Artwork, Unframed _________________ Sunlight dancing upon the hydrangeas, blooming in sumptuous summer fullness, giving the shadows depth and form. On...

Works on paper

Joseph Stella (1877-1946, American, Italian) "Flower Study". Crayon and pencil on paper. Signed lower left. Image 6 7/8” x 4 /34”. Framed 12 1/2” x 10”. Gallery label Beadleston Gallery N.Y. N.Y. Joseph Stella (American, June 13, 1877–November 5, 1946) was a Futurist painter known for his association with the American Precisionism movement and his works depicting industrial America. Stella was born in Lucano, Italy. In 1896, he relocated to New York, NY, to study medicine. After becoming interested in art, Stella left his medical studies and began to study art at the Art Students League of New York. While there, he studied under William Merritt Chase. During this time, Stella's early works featured a Rembrandt style...

Donald Baechler Untitled (Rose), 2015 Original Graphite drawing on archival bond paper. Framed, with museum provenance Signed and dated in graphite pencil on the front Provenance: Do...

Amanda Nedham collapses the monumental and the mundane through radical memorial gestures. She is interested in how drawing intersects with architecture and is subject to change. In h...

I have worked on a new series of small oil paintings. This is the one of them. This series is dedicated to the scenes of everyday life. This painting is called "Just bananas". This...

This beautiful painting in gouache and gold paint was created as a brooch design in the 1980s.The artwork is signed 'Erté' on the front, and numbered and titled in Erté's hand verso ...

Amanda Nedham collapses the monumental and the mundane through radical memorial gestures. She is interested in how drawing intersects with architecture and is subject to change. In h...

Amanda Nedham collapses the monumental and the mundane through radical memorial gestures. She is interested in how drawing intersects with architecture and is subject to change. In h...

A mid-century watercolour of white daisies in a terracotta jug. Presented in a contemporary wood veneer frame with card mount. Unsigned. On watercolour paper.