Still-life Drawings and Watercolors

A lovely watercolour painting with graphite by the British artist A. Dorothy Cohen, depicting a floral still life composition. Signed to the lower right-hand corner. Well-presented i...

Still Life is an Ink and tempera drawing realized by Reynold Arnould (Le Havre 1919 - Parigi 1980). Good condition on a white envelope. Titled on the lower right corner, another s...

This sumptuous array of summer roses offers the perfect mix of flowers and foliage in this stylish coffee table display. Unsigned. Newly mounted in a slim black frame. On paper.

Inspired by Greek vases, Blue Vase, 2023 is an original (unique) work on 25" x 20" 260g watercolor paper signed by Israeli born woman artist Yifat Gat. Title, date, and signature on ...

Flowers is a Black Marker Drawing realized by Reynold Arnould (Le Havre 1919 - Parigi 1980). Good condition on a yellowed paper. No signature. Reynold Arnould was born in Le Hav...

A fine floral watercolour showing a squat vase overflowing with colourful Anemones. A small bowl and a plate embellished with gold fish complete the still life. The artist has signed...

'Glowing Peonies in Tall Vase' by master watercolorist Gary Bukovnik, who fuses sensual vitality with fluid yet powerful colorations to create floral images of great depth, intensity, and size. Internationally exhibited and celebrated worldwide, Bukovnik’s iconic works express a spiritual exultation - a joie de vivre - a vivid celebration of beauty. The painting captures the season of nature’s rebirth when the world awakes from its winter repose — Forever Spring...

Flowers is a drawing realized by Albert Fernand-Renault in the early 20th Century. Pencil on paper. Stamped signed. Good Conditions with diffused foxing. The artwork is realized ...

Monochromatic abstract still life drawing by Janice Redman. The piece depicts what appears to be a stack of bowls joined by strings. Signed by the artist at the lower right corner. Framed and matted in a modern wooden frame. Dimensions With Frame: H 11 in. x W 8.75 in. Artist Biography: Janice Redman, sculptor, was born in Huddersfield, England and received her BFA from Kingston University, Surrey, and her MFA from the University of Ulster in Belfast, Northern Ireland. She is a former Fellow of the Fine Arts Work Center In Provincetown, Massachusetts,and has been the recipient of many awards, including The Hassam, Speicher, Betts and Symons Purchase Prize from the American Academy of Arts and Letters and a Massachusetts Cultural Council award in sculpture. Her residency programs include Yaddo in Saratoga Springs, New York,and the Core Program at the Museum of Fine Arts In Houston, Texas. Redman’s work has been shown nationally and is represented by Clark Gallery in Lincoln, Massachusetts. Her work can be found in the permanent collections of the DeCordova Museum and Sculpture Park in Lincoln and the Eli and Edythe Broad Art Museum in East Lansing, Michigan. "My work,” Redman says, “is rooted in my everyday experience and my personal history. My mother was a seamstress and a lace maker; my father restored antique clocks...

'Yellow Tulips in Tall Vase' by master watercolorist Gary Bukovnik, who fuses sensual vitality with fluid yet powerful colorations to create floral images of great depth, intensity, ...

Tall Vase, 2023 is an original (unique) work on 25" x 20" 260g watercolor paper signed by Israeli born woman artist Yifat Gat. Title, date, and signature on recto (front of work) - o...

English school from the end of the 19th century Watercolor and gouache 38 x 28 cm (60x49 cm with the frame) Very beautiful late 19th century frame in pitch pine wood. Very good condition This watercolor was made for the diamond "jubilee" in 1897 of Queen Victoria, crowned on the 20 June 1837 Queen of the United Kingdom of Great Britain and Ireland. She was also Queen of Canada from 1867 and Empress of India from 1876. This watercolor represents two portraits of the Queen, one in 1837 and the other in 1897, as well as a beautiful diamond which reminds of the famous Indian diamond the Koh-i-Nor which was presented in 1850 to Queen Victoria, for the 250th anniversary of the English East India Company, and cut and mounted on a tiara with two thousand other diamonds in 1852. We also recognize in this watercolor the insignia of the Order of the Star of India...

Named for its red fruit that tends to bloom during the Holiday Season, the Christmas Palm is shown here with all its beautiful flowers. Drawn in colored pencil with fine detail, thi...

Robert Kipniss (American, b. 1931) At Dawn, 1975 Pencil on paper 10 1/2 x 7 1/4 in. Framed: 14 2/3 x 11 1/3 in. Signed upper right: Kipniss '75 Verso bears Hirschl & Adler Galleries Label Robert Kipniss, painter and printmaker, was born in New York City in 1931. He creates essentially monochromatic*, stylized vistas with natural and architectural elements intended to evoke an elegiac, nearly surrealistic mood in haunting, silent landscapes; the melancholy of nostalgia. Trees, in mid and far-distance, form clusters or act as misty individuals containing a haunted, indefinable presence, witnesses to the foreground drama of more specific shape, form and detail, often a close-up tree. Kipniss studied at the Art Students League* in 1947; Wittenberg University in Springfield, Ohio, 1948-50; and the University of Iowa, receiving a BA degree in English literature in 1952, and an MFA in painting and art history in 1954. The artist employs a meticulous technique combining a multiplicity of specific strokes, whether with brush, pencil or print-maker's needle and burin*, to create the essence of his generalized, non-specific forms. Light and darkness are clearly Kipniss' compositionally constructive elements. They also exist as contestants in the emotional drama at the heart of each work of art. The contrast, and sometimes combat, between these two opposites, symbolically represent with blackness -- ideas of threat, fear, trouble, evil; with whiteness safety, redemption, fulfillment and good. In Kipniss' 1995 mezzotint*, Clear Vase and Landscape, with a foreground image of precisely leafy stalks, the vase holding them, nearly invisible in its transparency, suggests an almost Salvador Dali-like surrealist device. This central image dominates but seems to invite association with, and commentary from, the surrounding clumps and individual round-topped, yet cedar-like trees. His mezzzotint, For Stella," 1997, depicts a gently twisting, curving, pale and smoothly-barked foreground, leafless tree limb or trunk, like a female human body, suggesting weakness, fatigue, an inability to deal with the staccato background screen of textured bush that seems to uncomfortably impinge upon it. This print is arguably a metaphor for a delicate soul struggling to overcome the prickly difficulties of domineering life. The classic mezzotint process, invented in the middle of the 17th Century, is the reverse of most of the other print-making media, since the artist works from a black ground to increasingly lighter areas. The copper plate is first roughened by a "rocker," creating a burr over the entire surface (the more burr left intact, the more ink it holds, the darker the final finished print). The artist, Robert Kipniss, in this instance, gradually burnishes, smoothes down the burr in varying degrees to produce the gradations of lights and darks of the final design. The deepest darks in the final picture are those areas on the plate that have been little touched after the initial roughening. Mezzotint relies on shade and tone rather than outline for its effect, which fits the Kipniss style of atmospheric* masses of value. A recent oil painting by Robert Kipniss, Hillside Silhouettes, 2001, 40 x 29, is somewhat more complex in composition than many, with four cubically-constructed houses each set in their own zones, seemingly unrelated to one another, with receding hills and similarly isolated, increasingly misty trees beyond. In his career, Robert Kipniss has had over 40 one-man shows since the first in New York in 1951, including an important retrospective exhibition at the Associated American Artist Gallery, New York in 1977. Many of these one-man exhibitions have been mounted by over 50 museums in the United States, South America and Europe, including the Chicago Art Institute, Metropolitan Museum of Art, Museum of Modem Art, Whitney Museum of American Art, Library of Congress and British Museum in London. Robert Kipniss is represented in the permanent collections of the institutions above, among many others, as well as the Philadelphia Museum of Art; New York Public Library; Museum of Fine Arts, Boston; Detroit Art Institute; Yale University Museum; National Collection of Fine Arts, Smithsonian Institution; Museum of Fine Arts, Houston; Los Angeles County Museum of Art; Portland Art Museum; and the New Orleans Museum of Art. He was elected to the National Academy of Design* in 1980, and to the Royal Society of Painter-Printmakers, London in 1998 Robert Kipniss can be referenced in numerous publications, including Who's Who in American Art from the 1950s to the present, and multiple reviews in periodicals like Art News, Art in America and Art Forum. There are also three important catalogues raisonne published on his work. Robert Kipniss has received many awards: 1965 - Ohio University National Drawing Show, Purchase Prize 1976 - National Academy of Design, New York City, The Ralph Fabri Prize 1978 - The Print Club of Philadelphia, Charles M Lea Prize 1979 - Charlotte Printmakers Society, Purchase Award 1979 - Society of American Graphic Artists, Printmaking Award 1979 - Wittenberg University, Springfield, OH, Honorary Doctorate 1980 - Elected to the National Academy of Design, New York City 1980 - Audubon Artists, New York City, Silver Medal 1980 - National Academy of Design, New York City, The Leo Meissner...

In the 1950s and 60s Grambs worked on many commissions. This drawing was probably for a magazine, perhaps House and Garden or House Beautiful. It is signed and dated in pencil on the...

In the 1950s and 60s Grambs worked on many commissions. This ink drawing with a lobster, crab, and a shrimp, was probably for a cookbook; the sheet is cut in a free-form, modernist...

In the 1950s and 60s Grambs worked on many commissions. The symmetrical nature of the drawing suggests it was for a book or magazine project with facing pages -- possibly a cookboo...

A fine and delicate gouache painting with watercolour by the artist Mary Brown, depicting a bunch of dainty flowers. Signed to the lower right-hand quadrant...

Signed lower right, 'Laurence Bell' (British, died 1916) and painted circa 1910. Bell studied at the Bushey School of Art in Hertfordshire in England. His preferred subject was land...

In the 1950s and 60s Grambs worked on many commissions. This was probably for a cookbook. The dimensions are for the drawing. The sheet is somewhat larger, 7 x 6 1/2 inches.

Original Painting Published Fortune Mag Cover 1935 Jewels Jewelry Illustration Antonio Petruccelli (1907 – 1994) Fortune cover published, Decembe...

"English Teddy Bear Company" is an original signed watercolor by Bruce McCombs. It depicts the front window display of a toy store. The window allows the viewer to peek inside but al...

Autumn flowers. 1974, paper, pastel, 25x37 cm "Autumn Flowers" is a pastel artwork by Eduards Metuzals that celebrates the beauty of autumn through a vibrant depiction of flowers. T...

Hans Richard von Volkmann (1860 Halle (Saale) - 1927 ibid.), Clay jug on a bench. Pencil and Watercolour on paper. 20 x 26,7 cm (visible size), 37 x 45 cm (frame), dated and monogrammed lower left "Februar 1890 - HR. V. V." - Minimally tanned. Framed behind glass in a passepartout. About the artwork Using the technique of his early youth - pencil and watercolour - Hans Richard von Volkmann depicts a still life. However, this is not a conventional indoor still life, but an open-air depiction, painted outdoors and not in the studio. It is therefore an open-air painting, characteristic of von Volkmann's oeuvre, which could have been painted in the Willingshausen colony of painters, where open-air painting was programmatically practised there and the artist stayed there that year. And indeed, this painting is a manifesto of open-air painting. Von Volkmann demonstrates that leaving the studio for the light of nature leads to an entirely new quality of art. To prove this, he uses the genre of still life, which can be described as the studio subject par excellence. Moreover, light plays an essential role in the classical still life. It is the real protagonist of the still life. And it is precisely this moment, essential to the still life, that von Volkmann exploits to demonstrate the potential of plein-air painting: He presents the objects as they appear in the sunlight. The date of February and the bare branches in the foreground make it clear that this is a clear winter day in bright sunlight. The delicate plant in the foreground casts a clearly defined shadow, as does the jug. However, the shadow is most pronounced on the jug itself: The underside of the handle appears almost black, making the top, and therefore the jug itself, shine all the more brightly. The shining of the objects in the sunlight is also visible on the bench. As complementary phenomena to the shadow zones, light edges can be seen on the boards of the seats and the upper foot of the bench shines entirely in the light. To achieve this intensity of light, von Volkmann activated the bright white of the painting ground. By depicting the objects in glistening sunlight, von Volkmann demonstrates that this quality of light is only to be found outdoors. And this light leads to a new way of looking at the objects themselves. The jug on the bench seems like an accidental arrangement, as if the artist had stumbled upon this unintentional still life and captured it with fascination. And in this fascination there is a moment of realisation that refers to the objects themselves. It is only when they shine brightly in the sunlight that their true nature is revealed. In this way, sunlight allows the objects to come into their own, so to speak. Sunlight, which is not present in the studio, gives the still life an entirely new dimension of reality, which is also reflected in the colours interwoven by the sunlight: The bench and the jug stand in a harmonious grey-pink contrast to the green of the implied meadow. The emphasis on the jug as the central subject of the picture also implies that the watercolour has not been completed. This non finito inscribes a processuality into the picture, making it clear that something processual has been depicted, the temporality of which has been made artistically permanent. This is why von Volkmann signed the painting and dated it to the month. About the Artist Von Volkmann made his first artistic attempts at the age of 14. He painted many watercolours of his home town of Halle. This laid the foundation for his later outdoor painting. In 1880 his autodidactic beginnings were professionalised with his admission to the Düsseldorf Art Academy. There he studied under Hugo Crola, Heinrich Lauenstein, Johann Peter Theodor Janssen and Eduard von Gebhardt until 1888. Von Volkmann then moved to the Karlsruhe Academy, where he was Gustav Schönleber's master pupil until 1892. In 1883 he came for the first time to Willingshausen, Germany's oldest painters' colony, at the suggestion of his student friend Adolf Lins...

Flowers is a Color Marker Drawing realized by Reynold Arnould (Le Havre 1919 - Parigi 1980). Good condition on a yellowed paper. No signature. Reynold Arnould was born in Le Havr...

Still Life is a Pencil Drawing realized by Suzanne Tourte (1904-1979). Good condition on a yellowed paper, included a white cardboard passpartout (37.5...

In Henk Serfontein's recent series of charcoal drawings, Fragile Flora, he continues his investigation into the fragile, the intimate and the ethereal. In his plant portraits he capt...

Nancy Lasar’s work is described as “drawing with light”, “condensed energy and flow”, “calm and crazy”, and “organized chaos”. The lines in Lasar’s works that are electrifying. They ...

A charming watercolour still life depicting a vase of flowers placed on layered patterned tablecloths. Areas of the composition have been left unfinished with the simple outline of p...

Estate stamp lower right: C-139

Delicacy by Jo Haran [2020] original Watercolour, gouache and gesso Image size: H:36.5 cm x W:49 cm Complete Size of Unframed Work: H:38 cm x W:50.7 cm x D:0...

'SF Symphony Still Life #4' by master watercolorist Gary Bukovnik, who fuses sensual vitality with fluid yet powerful colorations to create floral images of great depth, intensity, and size. Internationally exhibited and celebrated worldwide, Bukovnik’s iconic works express a spiritual exultation - a joie de vivre - a vivid celebration of beauty. The painting captures the season of nature’s rebirth when the world awakes from its winter repose — Forever Spring...

This is an exclusive handprinted limited edition cyanotype of a gorgeous blue bouquet. Details: + Title: Blue Flower Bouquet + Year: 2022 + Edition Size: 100 + Stamped and Certific...

Michel-Henry was born in Langres in 1928 and has shown strong passion for drawing since his childhood. Michel-Henry is acknowledged as an important painter in French contemporary art. From 1952 his work has periodically been singled out for France's highest prizes and awards. The French Government, the City of Paris , the Museum of Valence , Bogota and the Museum of Alencon are among the distinguished institutions who have acquired his work for their permanent collections. Born in Langres in 1928 the aspiring artist attended the Ecole Nationale Superieure des Beaux-Arts in Paris. He later studied with Narbonne , Georg, Chapelain-Midy and Legueult. In 1957 he became a member of the House of Descartes in Amsterdam and the following year was named member of the Casa Velazquez in Madrid , honors which are exceptional for a young painter. He is a member of the Salon d'Automne as well as a member of its jury, he also exhibits in the Salon de la Société Nationale des Beaux-Arts, the Salon Comparisons, and the Salon Terres Latines. In 1976 he shared in the honor of presenting the Salon d'Automne exhibition in Japan . Michel-Henry blends delicate tones and strong and fascinating accents into his compositions of flower still life, landscapes and marines. An avid interest in nature is the predominant quality of his luminous works. As a French artist whose works are known internationally, Michel-Henry over a period of twenty eight years has earned the status of a goodwill ambassador in a universal world of cultural exchanges. For his dedication and unselfish contributions to art and artists from all lands he was honored by his country by being awarded the prestigious - la Croix de Chevalier de la Légion d'Honneur - on January 1, 1981 by the French Minister of Culture Mr. Jean Philippe Lecat. Michel Henry exhibited at prestigious galleries in Paris (Avenue Matignon) and New York (Madison Avenue) alongside such artists as Pablo Picasso, Fernand Leger, Armand Guillaumin, Maurice Utrillo and Claude Venard. He is part of School of Paris artists that included Marcel Cosson, Jean Jansem, Leni-Dael, Raoul Dufy, Claude Salomon, Michel Kouliche...

A charming 19th Century floral watercolour showing a bouquet of roses and delicate purple campanula on a grassy hillside. The artist ha...

Japan Issue Fortune Magazine Cover Proposal Japanese Mid-Century Illustration Antonio Petruccelli (1907 - 1994) JAPAN ISSUE Fortune cover proposal, c. 1936 14 1/4 x 12 inches (sight) Framed 19 3/4 X 17 3/4 Inches Gouache on board Signed lower left BIOGRAPHY: Antonio Petruccelli (1907-1994) began his career as a textile designer. He became a freelance illustrator in 1932 after winning several House Beautiful cover illustration contests. In addition to 24 Fortune magazine covers, four New Yorker covers, several for House Beautiful, Collier’s, and other magazines he did numerous illustrations for Life magazine from the 1930s – 60s. ‘Tony was Mr. Versatility for Fortune. He could do anything, from charts and diagrams to maps, illustrations, covers, and caricatures,’ said Francis Brennan, the former art director for Fortune. Over the course of his career, Antonio won several important design awards, designing a U.S. Postage Stamp Commemorating the Steel Industry and designing the Bicentennial Medal...

Stephan Hoffpauir’s photorealistic watercolors invite viewers to contemplate spaces that, while familiar, are largely ignored by those who fleetingly pass through them. Among his sub...

Bamboo design. Sealed on the back with design studio name and number 972 We offer a small number of these original illustration designs by this design studio based in Alcoy (Spain), ...

Artist: Arman Title: Watch Gears Year: circa 1979 Medium: Ink on Paper Drawing, signed l.r. Paper Size: 25 x 19 inches Frame Size: 34 x 27.5 inches

'Peace in the Garden' by master watercolorist Gary Bukovnik, who fuses sensual vitality with fluid yet powerful colorations to create floral images of great depth, intensity, and siz...

Watercolour on handmade paper of a 'Senoufo' figure applied to Vélin d'Arches paper by French artist La Roche Laffitte. Titled to the bottom centre. A beautifully observed and detai...

Hobson Pittman (American, 1900-1972) Still Life Pastel on paper, 22 x 17 inches (sight) FRAMED: 30 x 24 inches Signed at lower right: "Hobson Pittman" Born in Epworth, North Carolina, Hobson Pittman moved with his family to Tarboro, North Carolina, in 1906. From 1912 to 1916 he attended the Rouse Art School in Tarboro. He moved to Pennsylvania in 1918, and attended the Pennsylvania State College (1921-22) and the Carnegie Institute of Technology in Pittsburgh (1925-26). Between 1920 and 1931 he spent summers in Woodstock, New York, and studied chiefly with Albert Heckman (1893-1971). From 1931 to 1957 Pittman was the director of art at the Friends' Central Country Day School in Overbrook, Pennsylvania, and from 1949 to 1972 he taught at the Pennsylvania Academy of the Fine Arts in Philadelphia. Pittman was member of the Woodstock Art Association, the Philadelphia Water Color Club, and the Philadelphia Art...

Here for your consideration is a very well executed oil pastel on archival paper by the well known French artist, Marcel Vertes. Signed lower right. Condition is excellent. Circa 1930. The artwork was done early in the artist’s career; most likely in Paris during his time studying at the Academie Julian. The artwork is housed in its original frame under glass. The ornate gold frame has been recently restored and is in good condition. Overall framed measurements are 31.5 by 26.5 inches. Provenance: A Pennsylvania estate. Marcel Vertès (born Marcell Vértes), was born on August 10, 1895 in Budapest, Hungary. His first commercially successful works of art were sketches of corpses, criminals and prostitutes he did for a sensationalist magazine in Budapest. He then did illustrations for many of the clandestinely printed publications opposing the Hapsburg monarchy at the end of WWI. After the war he moved from his native Hungary to Vienna, Austria and then to Paris, where he was a student at the Academy Julian, living and working in the famous Latin Quarter. Vertes quickly established himself as a regular in the Paris art scene and his work became lighter and more lyrical. In Paris he concentrated on illustration, painting and printmaking, especially lithography. In 1935 he made his first trip to New York to make contacts. Two years later he had his first one-man show in New York. At the end of WWII he returned to New York with his wife, escaping the Nazi invasion of Paris by two days. He then began to divide his time between New York and Paris. Ten years later, he returned to his beloved Paris and spent the remaining years of his life there. While in the United States he became a consultant to the Producers and Set Designers of the 1952 Award Winning film Moulin Rouge, about the life and times of artist Henri De Toulouse-Lautrec (1864-1901). He won two Academy Awards for ‘Best Art Direction’ and ‘Best Costume Design’. Interestingly, Marcel Vertès originally earned his tuition money for his European education by making forgeries of Lautrec's works. As such, his expertise was exhibited in the film when his hand is used as the hand of Toulouse Lautrec as he drew, and his images were accordingly used in the film and given appropriate credit in the trailer to the film. Vertes also appeared in the British production credits as Color Production Designer, and Costume Designer for the film, with Schiaparalli (the same of Paris, and Italy). They both jointly won the British Academy Film award in 1952 for Best Costume Design for Moulin Rouge. Vertès is also responsible for the original murals in the Café Carlyle in the Carlyle Hotel in New York City and for those in the Peacock Alley...

'Tipsy Lilies' by master watercolorist Gary Bukovnik, who fuses sensual vitality with fluid yet powerful colorations to create floral images of great depth, intensity, and size. Internationally exhibited and celebrated worldwide, Bukovnik’s iconic works express a spiritual exultation - a joie de vivre - a vivid celebration of beauty. The painting captures the season of nature’s rebirth when the world awakes from its winter repose — Forever Spring...

'Pink Dahlias' by master watercolorist Gary Bukovnik, who fuses sensual vitality with fluid yet powerful colorations to create floral images of great depth, intensity, and size. In...

Signed, faintly, lower left, 'Donald Bear' (American, 1905-1952) and painted circa 1945. A dynamic, modernist still-life of fruit in gouache, watercolor, crayon and india-ink. Donald Jeffries Bear was born in Terre Haute, Indiana, and grew up in Denver. He first attended Denver's Art Academy and, later in life, became director of the Denver Art Museum (1930-35). During the 1930s, he was also regional advisor for the Federal Art Project and was a primary art...

'Daffodils in a Tall Vase' by master watercolorist Gary Bukovnik, who fuses sensual vitality with fluid yet powerful colorations to create floral images of great depth, intensity, a...

"Flowers" is a watercolor artwork created on paper in 1994, with dimensions of 40x30 cm. The painting showcases a vibrant and colorful depiction of various flowers, capturing the beauty and delicacy of these natural elements. Oskars Berzins (1940) Born on September 20, 1940 Education 1970 graduated from Art academy of Latvia Graphics department. Diploma work-holiday poster...

Sir Matthew Smith CBE (British, 1879 –1959) Dahlias Pastel 22 x 16.1/4 in. (56 x 42 cm.) Provenance: Sotheby’s London, 20th Century Art, 03 Oct 2001, lot...

James Rassiat ( 1909 -1998 ). PARIS'S Monn Amour " la Rolls Royce de maurice Chevalier " arborant le canotier et la canne . gouache on paper : 38 x ...

Flowers is a drawing realized in 1950s by Albert Fernand-Renault. Watercolour and ink on paper. Hand-signed. Good condition with diffused foxing and a cutting at the top left margi...

Alexander Pernot Couard: 1891-1960. He was an American painter, printmaker and book illustrator. he studied at the Art students League in NYC. He often visited Florida after the 1940s where he most likely painted this fabulous colorful tropical still life...

A large translucent vessels floats upon a lake, so transparent that the wooded shoreline can be seen through this surreal boat. The artist treats watercolor much like oil paints, with layer upon layer to achieve a depth unseen in watercolor. The smallest of detail is apparent upon close examination. The piece is matted and framed in a simple white frame measuring 17.25 x 17.75 inches. Christina Haglid The Junipers watercolor and gouache on paper 8h x 9w in 20.32h x 22.86w cm CMH052 Artist's Statement Tiny Sanctuaries There has always been an intersection between the process of writing and the act of painting in my work. It has somehow been my guide. In the last four years, during the making of this work, that connection intensified as I started writing short stories and flash fiction while taking online classes. I find the process of writing and painting so different in almost every way, but there is something freeing and generative in writing which helps my painting process. Or perhaps it's a reminder of what painting is for me - something intuitive that needs to be trusted. And what they do have in common is a desire to encapsulate and distill a single moment, a story, about the complexity of our emotions and experiences. At the heart of my work is the recurring depiction of perseverance, strength of will, and a subtle optimism. Symbolically through the objects, precarious situations depict a moment of possible difficulty, often involving the influence of nature. A paper crane left in the snow. A boat nearly filled to the brim, but not submerged and able to drain its own contents carefully. A slide alone at night...

'Red Iris' by master watercolorist Gary Bukovnik, who fuses sensual vitality with fluid yet powerful colorations to create floral images of great depth, intensity, and size. Internationally exhibited and celebrated worldwide, Bukovnik’s iconic works express a spiritual exultation - a joie de vivre - a vivid celebration of beauty. The painting captures the season of nature’s rebirth when the world awakes from its winter repose — Forever Spring...

This delightful study depicts an intricate botanical study of evening primroses in pink and red. Signed to the lower right. Well presented in a gilt frame with beaded and lambs tongu...

David Morrison’s new series of drawings are regal in their naturalism. Morrison uses his extreme attention to detail to give equal weight to both the fruit's delicate features and si...

'Rhododendrons' by master watercolorist Gary Bukovnik, who fuses sensual vitality with fluid yet powerful colorations to create floral images of great depth, intensity, and size. Internationally exhibited and celebrated worldwide, Bukovnik’s iconic works express a spiritual exultation - a joie de vivre - a vivid celebration of beauty. The painting captures the season of nature’s rebirth when the world awakes from its winter repose — Forever Spring...

'Geraniums' by master watercolorist Gary Bukovnik, who fuses sensual vitality with fluid yet powerful colorations to create floral images of great depth, intensity, and size. Intern...