Horizontal Still-life Drawings and Watercolors

Yellow flowers at Tuileries garden. 2010. Watercolor on paper, 24x50 cm Light sunny watercolor artwork in yellow and white colors. Ingrida Irbe (1969) Born 15th of June 1969 in Ri...

Tuilerie Garden. Paris. 2010. Watercolor on paper, 24x50 cm Abstract flowers in orange color Ingrida Irbe (1969) Born 15th of June 1969 in Riga Education: 1980. – 1987. J. Roze...

A fine watercolour study depicting a nest of hedge sparrow eggs with cherry blossom . The artist uses an expert hand to capture the fine details of the intricate birds nest and delic...

A fine Victorian watercolour of wild primroses, flourishing in a rocky English woodland. The artist has captured each flower with its deep yellow eye and large velvety leaves, buried...

A delightful early 19th-century graphite and watercolour study of agricultural equipment. Inscribed with the location 'Delphi and the date 1834', Cromek was known to have been tourin...

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

A charming watercolour study of fresh spring flowers presented in a cream jug with blue rim. The jug has been carefully placed on a table top with the excess leaves and flowers left ...

A charming 19th Century still life study depicting a seashell, dog roses and a pansy carefully placed before a rock. The artist captures the delicate flowers and their textures in gr...

A charming still life study depicting a glass of wine surrounded with half wrapped fruit and a small picnic basket.. Unsigned. Presented in a wooden frame with a gilt slip. On paper.

A 1951 detailed ink on paper drawing of a still-life in an interior by artist Harold Haydon. Artwork size: 12" x 9". Archivally matted to 16" x 20". Harold Emerson Haydon was bo...

An unusual and eye catching still life showing candy bars, a $5 bill and brown leaf, lying on a newspaper filled with disturbing and saddening slogans and he...

A very fine still life study of a vase of summer flowers by the artist ;Marcella Smith. Wonderfully presented in a washline mount and vintage effect fra...

A delicate watercolour of three Romneya Coulteri flowers and one in bud, commonly known as the Coulter's Matilija poppy or California tree poppy. Well...

A delightfully delicate and dynamic still life composition in watercolour, by the well-known New Zealand-born artist Kathleen Browne (1905-2007). Likely to have been painted around ...

A vibrant and expressive watercolour painting with gouache details by the artist Neil Drury, depicting a flower composition. Signed and dated to the lower right-hand corner. Well-pre...

A mid 20th century watercolour on paper of carnations in a bowl by French artist J Savigny. The painting is signed bottom right and presented in a period patinated and gilt wood and ...

Silver Teapot and Petunias by Lu Haskew Watercolor 16x20" image size 24x28" framed as pictured, gold leaf, behind glass with archival matte Still life of flowers in pinks and whites ...

Doll Shoes by Lu Haskew Pencil 9x11" image size 15x18.5" framed as pictured, behind glass with archival matte Graphite drawing of doll shoes on a newspaper. Shipping price includes ...

A fine and accomplished watercolour painting by the British artist James Valentine Jelley. The scene depicts hydrangea flowers, some in a pewter flagon.T...

William C Ostrander: 1858-1933. Listed NYC and California artist. In the 19th century he taught at Metropolitan Museum of Art in NYC. His works are very scarce as I could only find o...

With gouache details. Inscribed in Chinese characters to the left-hand margin. Presented in a cream card mount and in a distressed, gilt effect frame. On watercolour paper.

Susan Van Campen’s plein-air oil paintings are painted with the confident brushwork of a watercolorist, achieving bold impressions of Maine’s landscapes. Her small impressions captur...

The artist has covered New York collections for over 16 years and has interviewed, as a journalist, several fashion designers and personalities for different publications. He loves t...

An interesting watercolour still life of two butterflies gently gliding towards the bright read flowers. Well presented in a card mount and gilt frame. Signed to the lower right. On ...

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...

An oval still life depicting a vase full of flowers with a butterfly perched on a leaf in the lower register of the composition. Presented glazed in a ...

"Vase of Flowers & Tea Cup" is an original watercolor painting by Alicia Czechowski. This painting depicts a table set for tea in front of a red background, possibly recalling master...

Rosehip. Oil on cardboard, 23x27,5 cm

Conditions: Very good overall condition. Edge right, visible under UV Light, minor retouching (5mm). The frame is period frame original baring stickers from Galleries in London. Low...

Mountain ash. 1989. Paper, watercolor, 61x70 cm Dzidra Bauma (1930) Dzidra Bauma works in watercolor technique. She paint figural compositions, portraits, landscapes, flowers and s...

Pastel with dazzling colors (Orange and red flowers, hues of greens and different shades of blue in the background) of fiery flowers blooming by the water. Signed "June Ziegler" lowe...

Edward Ridley (British, 1883-1946) White Bryony Watercolour 6.1/8 x 20.1/2 in. (15.6 x 52.2 cm.) This design was one of 5 submitted for ACT certificate a...

A pretty, impressionist Chinese watercolour showing a cut crystal vase full of red roses with fruit scattered around. The artist has signed to the lower right and the painting has be...

Francis Edward James (1849-1920) RWS RBA NEAC - Original Early 20th Century Watercolour. Francis Edward James (1849-1920) RWS RBA NEAC Signed. In ...

With pen and ink detail. Well presented in a washline mount and gilt effect frame. Inscribed with the title. Signed and dated. On watercolour paper.

A charming watercolour painting by the artist Shirley Harrell, depicting a still life of roses. Signed to the lower left-hand corner. There is an artist's biography attached on the r...

A fine and detailed watercolour painting, depicting a still life composition with several fruits, nuts, a pumpkin and a white jar. Monogrammed to the lower right-hand corner. Well-pr...

"Behind the Studio" is a realist charcoal on paper drawing. It depicts the treed filled forrest behind the aritst's studio in Sag Harbor, NY. Frame Dimensions 26 x 34in Framed und...

Coffee Espresso #12 by Eliza Southwood [2022] Coffee Espresso #12 is an original drawing in coffee on paper by artist Eliza Southwood. It features one cyclist painted in coffee, com...

Intervention 2. 2012, canvas, oil, 70x90 cm

Muted Cascade by Jo Haran [2021] original Gouache, watercolour ink and gesso. Image size: H:53.5 cm x W:38.4 cm Complete Size of Unframed Work: H:40.5 cm x W:56 cm x D:0.01cm Sold U...

Romain de Tirtoff, called ERTE (Russian/French, 1892-1990) Tasse a Café et Bol a The Ink, gold paint and watercolour with pencil Inscribed with detai...

Samantha Gare Les Arcs, France Pen, Marker and Pastel on Mountboard Unframed 51cm x 76cm Landscape, skiing, black and white, mountain, snow, France Please note that insitu images are...

My work is about something I wish I could have seen, imaginary worlds, a commentary on awe that is inspired by nature, science, and history. Objects in my work are a stand in for the...

Thia Nevius is a versatile and accomplished artist whose work spans a wide range of mediums and styles. Known for her mastery in oil, watercolor, acrylic, and monotype, she skillfull...

Artist: Lou Fink Title: Wood Edge Year: 1976 Medium: Pencil on paper, signed and dated l.l. Size: 20 in. x 24 in. (50.8 cm x 60.96 cm)

An early 1940s fashion study featuring an advertisement for Elizabeth Arden cosmetics. Artwork size: 11 3/4" x 8 3/4". Archivally matted to 12" x 16". Provenance: Cornelia St...

Flowers. Luxembourg Garden. 2010. Watercolor on paper, 38x50 cm Watercolor artwork in magenta and pink colors. Ingrida Irbe (1969) Born 15th of June 1969 in Riga Education: 198...

"Flowers" by Marie-Amelie Chautard-Carreau (French, 19th/20th century) set of 2 watercolour on paper, unframed top painting : 3.5 x 5.5 inches, signed bottom right bottom painting: ...

Barrer, Gertrude (American, 1921-19920. UNTITLED. Pencil and ink on paper. 8 3/4 x 11 3/4 inches, 223x298 mm., framed to 16 x 19 inches. Provenance: The Artist; Gary Snyder Fine Art, NY. This work was exbibited at Snyder Fine Art, NY, Works on Paper from the 1940s by Gertrude Barrer...

Work on paper Support size 17 x 24 x 0.4 cm

Guignet was born in Annecy and grew up in the city of Autun. He was a friend of Hippolyte Michaud. He was a rather popular orientalist painter in h...

This sizeable work is a combination of fauvist and impressionist style. It shows a hurricane of different feelings and moods that each one of us interprets differently Ingrida Irbe ...

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...

Aka Beni Kosh Still Life with Flowers Colored pencil on paper Unsigned Signed with the estate stamp on reverse (see photo) Estate No. 716 Condition: Soft fold through image, wri...

Marine Dutch School, 18th Century Coastal Scene with ships in a storm Gouache on prepared paper

Trompe l'oeil [untitled]. Homage.... Ink drawing, multimedia, 1837. Paper size 13.13 x 16.44" (33.3 x 41.8 cm). On watermarked paper "Blauw and Briel." Overall good condition. Small tears and the occasional bit of paper missing at the paper edge. Original color. Center paper crease - as issued. We believe the artist created this artwork on a sheet of paper that had been previously bound in a book. Dutch trompe l'oeil drawing with pen & ink, pencil, sepia, and black chalk, wax seal, and painted pigment. This montage of early 19th century ephemera depicts sheet music, scenic views, a sealed letter, cards, a portrait of an unknown sitter, and a penned sheet noting ... van S. G. Wezel Wassenaar, October 1837. Is this a homage to the individual portrayed, a metaphorical self-portrait, or just a random assortment of ephemera beautifully composed? The artist keeps us wondering and visually appeased by a striking harmony created through contrast. This piece starts with sheet music entitled; Romance Larghetto No 2. There is a Psalm and Op Jezus Geboorte (On Jesus Birth...