Framed Still-life Drawings and Watercolors

Elizabeth Jenkins was born in New Brunswick, Canada, in 1841. By the early 1870s the artist was living in Yuba County, California. In 1873 she exhibited at the California State Fair.

Daisies by Lu Haskew Watercolor 18x14" image size 28x24" framed as pictured, behind glass with archival matte Still life of flowers in purples, whites and blues Shipping price inclu...

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 very fine graphite study of the well-known sculpture 'Gladiator's Left Foot' by Agasias of Ephesus. The artist has signed to the upper right corner. Well presented in a vintage thi...

A fine study in watercolour and gum arabic depicting a goldfinch and its nest. Signed to the lower right. Presented in a gilt frame. On paper.

Jozsef Rippl-Ronai (Hungarian, 1861-1927), Interior Scene with Potted Plant, Pastel on Paper, signed lower center, Herbert Feist carved giltwood frame. Image: 9.25" H x 13" W; frame:...

Black and yellow abstract charcoal drawing by Houston artist Paul Forsythe. The piece features an abstract, organic shape floating against a white background. Currently hung in a lig...

Black and white abstract charcoal drawing by Houston artist Paul Forsythe. The work features a large, abstract, organic shape in the upper right corner of the composition. Currently ...

Signed lower left. Well-presented in a gilt frame with card mount. On watercolour paper.

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...

Provenance The artist; By bequest to his nephew, Sergio Stella, 1946; By descent in the family, until the present Joseph Stella’s artistic career defies easy categorization. He was ...

Vibrant watercolor, pen and ink floral study of hot pink roses in full bloom, with brilliant attention to detail and a signature delicate style, by California artist Deborah Eddy (Am...

Delicate watercolor, pen and ink floral study of light pink gladiolas, with brilliant attention to detail and a signature delicate style, by California artist Deborah Eddy (American,...

Early modern original watercolor and gouache ad layout for Foley's by Houston portraitist Robert C. Joy. The work features a mink stole laid out in the shape of a question mark. Ther...

Delicate watercolor, pen and ink floral study of yellow roses, with brilliant attention to detail and a signature delicate style, by California artist Deborah Eddy (American, b.1943)...

Beautiful floral watercolor and gouache on paper with musical instruments by the German artist, Friedrich (Frederick) Jungling. Signed lower right and dated 1908. Excellent condition...

Daisy Craddock's The World in a Tomato is an abstracted red and green still life of an heirloom tomato, rendered in oil pastel. Drawn from life, Craddo...

“The apples in my paintings is full of life, humanity and spirit. Apples come in various forms and colors, just like every human being creates all kinds of life journeys.” Lim Kim Hai devoted himself to paint apples in his entire artist’s career. He started drawing apples when he was studying at École Nationale Supérieure des Beaux-Arts in Paris, France. As a foreign art student needed to save money for living, apple became a common subject for Lim to develop his skills because it is one of cheapest object to buy. A simple and cheap object as an apple, it is also one of favorite subjects to the impressionism master Paul Cézanne. Cézanne’s apple paintings...

Delicate watercolor, pen and ink floral study of a cyclamen blending into line drawing, with brilliant attention to detail and a signature delicate style, by California artist Debora...

Artist David Morrison creates hyperrealistic, yet abstracted, finely detailed pencil drawings of found natural objects, both by observing the object itself under magnification, and a...

Condition: Excellent overall Condition. Original canvas and frame. No restauration necessary. No retouching under UV light. Dimensions with frame 28 x 34 cm. Free US CONTINENTAL Shi...

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...

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...

Delicate watercolor, pen and ink floral study of a light pink garden rose, with brilliant attention to detail and a signature delicate style, by California artist Deborah Eddy (Ameri...

Delicate watercolor, pen and ink floral study of light pink roses in full bloom, with brilliant attention to detail and a signature delicate style, by California artist Deborah Eddy ...

Vibrant watercolor, pen and ink floral study of red gladiolas, with brilliant attention to detail and a signature delicate style, by California artist Deborah Eddy (American, b.1943)...

Beautiful watercolor, pen and ink floral study of lavender roses, with brilliant attention to detail and a signature delicate style, by California artist...

Vibrant watercolor, pen and ink floral study of Peruvian lilies, with brilliant attention to detail and a signature delicate style, by California artist Deborah Eddy (American, b.194...

[ANON.] Collection of Watercolour Designs for Silverware. South Germany, [Late 19th century]. A series of 9 watercolours, each framed and glazed, ...

With ink wash. Signed. Titled verso. Presented in a wooden frame. On paper.

Antique Floral Still Life of Roses, Delicatly Rendered American, 19th/20th Century Signed: A. Ziffel 1906 (Lower, Right) " Still Life of Roses ", 1906 Watercolor and Gouache on...

Detailed watercolor of a Santa Fe southwest style living room, full of vibrant Navajo patterned textiles, by unknown artist "West" (American, 20th Cen...

Flowers in a vase paper/pastel, 70x54 cm

Sean Lyman is a Professor of Painting and Drawing at Missouri State University, with an extensive list of international exhibitions and work in public permanent collections including...

A charming watercolour study depicting apples, books and plants placed on a white cloth to make a delightful still life composition. Signed in graphite to the lower right. Presented ...

Visually bright and dynamic work by expressive California artist Bengston. Colors are crisp and the oversize sheet and size mays for strong visual impact in a room. Newly framed in...

A delightful pastel study depicting two pears and a glass of Chablis. Signed in graphite to the lower left. Presented in a gilt frame and double card mount. On paper.

Christina Haglid Brick Light watercolor and gouache on paper 11h x 8w in 27.94h x 20.32w cm FRAMED DIMENSIONS 17.25h x 14.25w x 0.75d in 43.81h x 36.20w x 1.91d cm CMH060 Artist's S...

A bright and refreshing watercolour study of a potted primroses, flowering in an antique blue and white vase. Signed by the artist to the ...

Sean Lyman is a Professor of Painting and Drawing at Missouri State University, with an extensive list of international exhibitions and work in public permanent collections including...

Vibrant watercolor, pen and ink floral study of yellow roses in full bloom, with brilliant attention to detail and a signature delicate style, by California artist Deborah Eddy (Amer...

Flowers. 2007, paper, pastel, 90x65 cm

Signed to the lower right. Presented in a gilt frame and double card mount. Who's Who in Art extract attached verso. On paper.

Delicate watercolor, pen and ink floral study of yellow monkey flower, with brilliant attention to detail and a signature delicate style, by California artist Deborah Eddy (American,...

Artist David Morrison creates hyperrealistic, finely detailed pencil drawings of found natural objects, both by observing the object itself under magnification, and also by working f...

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...

Francisco Souto is a Venezuelan-born American artist known for his highly detailed drawings and prints. He received his BFA from the Herron School of Art and his MFA from The Ohio St...

"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...

A cake top realistically depicts a cake by female baker, Kassie. Colored pencil on paper. 'Kassie' is 13.5 x 13.25 inches and professionally framed measuring 14.5 x 14.25 inches.

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...

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...

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...

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...

A fine still life in pastel by the artist Vivian Bewick. Unsigned. Well presented in a vintage oak frame and inner gilt slip, with narrow card mount. On ...

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 ...

HELEN HAWLEY Terracotta Head, 6-7th Century C.E. 2024 Ink on paper Framed: 12 x 16 inches

A paper lantern explodes out of the water, as if propelled by an inner, unknown force. This surreal landscape is done in exacting detail with watercolor and gouache down to the smal...

3.3M, 1000 REVERSE RIGHT "WATERMELON GRAND" From the series Currency Chinese ink on Fabriano paper 250 g. Image size: 30 cm H x 15 cm W Frame size: 43 cm H x 28 cm W x 4 cm D Tint...

A colourful pastel study of a figure painting floral motifs in response to the lilies and botanicals in view. Unsigned. Presented in a striking black frame. On paper.

Margot Glass reimagines color with her newest specimen, anemones, using luminescent ink to translate vivid shades into bursts of white-gold. Ever-interested in fragility and ephemera...