Paint Still-life Drawings and Watercolors

Surrealist landscape with skull and red daisy Watercolor on paper, 1960-1970 Unsigned Stamped with the artist's estate stamp verso (see photo) Provenance: Estate of the artist Refere...

Christoper Ryland (born 1951) Still life of freesia Watercolour 16 x 23 inches Christopher Ryland's flower paintings are in collections all over th...

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

JOHN SUTTON (20th Century) Still Life with Fruit Signed, inscribed and dated: 10/5/42 Watercolour, chalks and pen and ink, unframed 25 by 31.5 cm., 10 by 12 ½ in. (mount size 40 ...

A classic Grand Tour composition. English School, 18th Century Still life with a Herald's trumpet, a Neoclassical urn, a Mason's square, and a protractor. Ink and wash in gray ink ...

Flower Vase is an original artwork realized by an Anonymous artist in the late 19th century. Ink and watercolor on paper. Includes frame (with minor defects): 47.5 x 2 x 33 cm. The ...

'Untitled No. 1' by Thomas Guise, 1967. Royal Society of Artists, Edinburgh Academy, Palo Alto ----- Signed lower right, 'T.G.M. Guise' for Thomas Gladstone Middleton Guise (Scottish, 1916-1984) and dated 1967. Previously with: Los Robles Gallery, Palo Alto, California. Thomas Guise studied art at Edinburgh College of Art under Thomson Adam Bruce, RSA (1947-1949) before serving with the Royal Artillery between 1939 and 1946. After returning to Scotland, Guise began working professionally as an artist and commenced his fruitful association with the Featherhal Press. Over the course of his career, he was the recipient of numerous prizes, medals and juried awards including the Award for Life Drawing (1947). Guise exhibited internationally with success and was a member of the Royal Society of Arts, the Royal Society of British Artists and the Royal Scottish Society of Painters in Watercolor among others. Accompanied by an artist catalogue, 'T.G.M. Guise: Propinquity', Featherhall Press Limited, Edinburgh 1996. Selected Group Shows 1948 - 1984: RBA, RSA, RI, RSW, RGI, SSA, NEAC. Arun Art Centre The Bath Festival Exhibition Selected Solo Shows: 1966 - Randolph Gallery, Edinburgh Festival 1967 - Encina Gallery Stanford University, California, United States 1968 - Los Robles Gallery, Palo Alto, California, United States 1968 - Randolph Gallery Edinburgh Festival 1970 - Clarkson Gallery, Victoria Street...

HOPE is a new watercolor on Arches paper by Fleur Thesmar. The artwork measures 22x30". The artist has written that in the spring of 2020, at the height ...

Vintage Rose Illustration -- "Georgia On My Mind" Beautiful and highly detailed illustration of a pink rose on a complex matrix background by Ben Black (American, 1922-2003). Titled "Georgia on My Mind" lower left. Signed "Ben Black" lower right. Unframed. Image size, 22.5"H x 18.25"W on a 25"H x 20"W Mat. The artist takes many days creating the hand drawn matrix background of circles and line. Ben Black was born in Boston, he graduated from the Massachusetts College of Art 1947. He served in World War 2. He was an art director at one of Boston's leading advertising firms, later opened his own studio where his works were included in The New Yorker Magazine, Saturday Evening Post, Reader's Digest, establishing himself as a leading American Illustrator. He had many solo and group exhibitions throughout New England and his work is collected throughout the world. Originally known for his clowns, he created a limited edition series of plates for Royal Daulton as well as clown figurines...

Watercolor on paper realized by Sirio Pellegrini in 1970s. Hand signed. Includes a wooden frame realized by the Artist cm. 60x45 Sirio Pellegrini, born in Rome on March 1, 1922, o...

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 ...

Carnation Wonder by Lu Haskew Watercolor 24x18" image size 32x26" framed as pictured, behind glass with archival matte Still life of flowers in reds pinks and whites Shipping price ...

Dzidra Bauma (1930) Dzidra Bauma works in watercolor technique. She paint figural compositions, portraits, landscapes, flowers and still life. She is one of the most productive wate...

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...

MAGNOLIAS is a new acrylic painting on panel by Fleur Thesmar. The artwork measures 18x24". The artist has written about an epiphany she had studying tre...

Subtle, warm watercolours are used to describe a beautiful still life. Signed and inscribed under the artwork. Well presented in a wood frame with a double mount. ; On wove.

This artwork blends acrylic, pencil and color pencils in a loose style keeping it both expressive and refined. The art floats above the matte and is beautifully framed in a dark grey...

Golden Harvest: A Garland of Autumn Leaves Necklace Jewelry Design circa mid 20th century by Paul Touzet (French b. 1917) original gouache painting, with pencil on tracing paper stuc...

A painting of instruments and flowers by Charles Cobelle. This piece features bright, almost neon colors and bears his signature in the lower right front corner. Size: 22 x 28 in. (...

Signed, lower right, 'Di Gesu' for Victor Di Gesu (American, 1914-1988) and painted circa 1955. A mid-century Post-Impressionist oil still-life showing a book and a candlestick arra...

Composition. May 27. 1992, watercolor on paper, 73x48 cm Jekabs Arturs Springis (1907– 2004) Painter, Latvia 1924 – 1927 – he learned at Aizpute Secondary School 1927 – 1930 – le...

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...

Autograph Letter Signed, on headed paper "61, Rue Caulaincourt", with initial and sentence "Chère Amie", painted in watercolours and decorated with tears, including an envelope with ...

HOMAGE TO CHANEL - An homage to the iconic Chanel No. 5 perfume. Textured elements add visual interest to this mixed media artwork on board. With delicate detail, this piece combines...

A charming depiction of a quaint courtyard with a table set up for two. In the doorway a two cats look over the sunny patio. Signed to the lower right. Presented in a light wooden fr...

A pretty cornucopia of elderberries and nasturtiums, tumble out from a knotted linen cloth and wicker basket. This wholesome still life shoes us the bounty of late Summer and early A...

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...

A charming watercolour painting with pastel details by the British artist Patti Harford, depicting a still life study of pink roses. Signed to the lower right-hand quadrant. Well-pre...

Peri Taylor Red Sails Watercolour and Ink on Paper Size: H 59cm x W50cm Sold Unframed (Please note that in situ images are purely an indication of how a piece may look). Red Sails i...

Romain de Tirtoff, called ERTE (Russian/French, 1892-1990) Service a The et Café 1 Ink, gold paint and watercolour on grey/blue paper Inscribed with deta...

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...

A striking mid-century still life of mixed objects to include glass bottles, tin jug and white file, enclosed by a large green drape. The artwork has been sign...

Craddock’s floral paintings are loci for memory, spanning more than a decade and various dwellings. Sharing a kindred spirit with such artists as Jane Freilicher and Lois Dodd, Cradd...

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

A charming watercolour study of white anemones. Signed and dated to the lower right. Presented in a light wooden frame. On paper.

A delightful still life study of antique objects to include brass items, a decorative china lady, blue and white jug and book. The artist has captured each...

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...

Still life with east carafe. 1981, watercolor on paper, 75, 5 x 55, 5 cm with small paper defect Jekabs Arturs Springis (1907– 2004) Painter, Latvia 1924 – 1927 – he learned at A...

JOHN GEORGE SOWERBY (1849-1914) Tailpiece for “A Rainy Day” Watercolour heightened with white, circular Unframed, in mount only Diameter 7 cm., 2 ¼ in. (mount size 25.5 by 20 cm., 10 by 8 in.) Reproduced: J G Sowerby & Thomas Crane, At Home, Marcus Ward & Co, 1881, p.17. The current work was reproduced in Sowerby and Crane’s 1881 children’s book...

A fine watercolour and gouache painting by the British artist Patti Harford, depicting a dandelion. Signed to the lower right-hand corner. Well-presented in a double card mount and i...

JEBEZ BLIGH (1832-1900) Mushrooms in a Basket Signed and dated l.r.: J BLIGH / 74 Watercolour Framed 22.5 by 31.5 cm., 9 by 12 in. (frame size 42.5 by 51 cm., 16 ¾ by 20 in.) Jeb...

Sir Jacob Epstein K.B.E. 1880-1959, was an American born English sculptor, who pioneered modern sculpture. He had a very long and productive career and was considered the greatest s...

A delicate and finely executed floral still life of red and white chrysanthemums in a blue and white china urn in front of a deep blue curta...

A unique hand-painted lithograph of a colorful Bouquet of Flowers by Wayne Ensrud, American (1934). Quiet Sunday (Blue) Wayne Ensrud, American (1934) Date: 1980 Hand-Painted Lithogra...

Abstract composition 1994, paper, watercolor, 75x55 cm Jekabs Arturs Springis (1907– 2004) Painter, Latvia 1924 – 1927 – he learned at Aizpute Secondary School 1927 – 1930 – lea...

A still-life painting of wine and fruit by Charles Cobelle. This piece features more muted and neutral colors than his other works and bears his signature in the lower right front co...

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 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...

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...

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...

Two very fine original antique English botanical watercolour paintings depicting this beautiful depiction of a flower/ plant. The work came to us from a private collection in Surrey,...

The more transcendental the representation, the more it tends to evoke it through its prodigies. Such is the case of the Double standard series in the words of the artist "It is a process of visual archeology through a search for human representations conditioned by their ritual, aesthetic or utilitarian meaning where a resignification of beauty patterns is proposed, a game with female representation with its multiple meanings, functions and forms” James Bonachea...

The more transcendental the representation, the more it tends to evoke it through its prodigies. Such is the case of the Double standard series in the words of the artist "It is a process of visual archeology through a search for human representations conditioned by their ritual, aesthetic or utilitarian meaning where a resignification of beauty patterns is proposed, a game with female representation with its multiple meanings, functions and forms” James Bonachea...

This series of works stems from the reflection on the value attributed to objects (metals and precious stones), established culturally and historically by society. By means of the tw...

This series of works stems from the reflection on the value attributed to objects (metals and precious stones), established culturally and historically by society. By means of the tw...

The more transcendental the representation, the more it tends to evoke it through its prodigies. Such is the case of the Double standard series in the words of the artist "It is a process of visual archeology through a search for human representations conditioned by their ritual, aesthetic or utilitarian meaning where a resignification of beauty patterns is proposed, a game with female representation with its multiple meanings, functions and forms” James Bonachea...

The more transcendental the representation, the more it tends to evoke it through its prodigies. Such is the case of the Double standard series in the words of the artist "It is a process of visual archeology through a search for human representations conditioned by their ritual, aesthetic or utilitarian meaning where a resignification of beauty patterns is proposed, a game with female representation with its multiple meanings, functions and forms” James Bonachea...

This series of works stems from the reflection on the value attributed to objects (metals and precious stones), established culturally and historically by society. By means of the tw...

The more transcendental the representation, the more it tends to evoke it through its prodigies. Such is the case of the Double standard series in the words of the artist "It is a process of visual archeology through a search for human representations conditioned by their ritual, aesthetic or utilitarian meaning where a resignification of beauty patterns is proposed, a game with female representation with its multiple meanings, functions and forms” James Bonachea...

The more transcendental the representation, the more it tends to evoke it through its prodigies. Such is the case of the Double standard series in the words of the artist "It is a pr...