Paper Still-life Drawings and Watercolors

Reilly uses a toning technique to endow her graphite works with a smooth, seamless quality. Rather than distinct outlines, her flower petals glide gracefully into the surrounding spa...

Christina Haglid Monolith No. 5 watercolor and gouache on paper 8h x 9w in 20.32h x 22.86w cm CMH071 Artist's Statement Tiny Sanctuaries There has always been an intersection betwee...

Flowers. 1970s. Paper, watercolors. 75, 5 x 54, 5 cm Jekabs Arturs Springis (1907– 2004) Painter, Latvia 1924 – 1927 – he learned at Aizpute Secondary School 1927 – 1930 – learn...

Charles Demuth was one of the most complex, talented, and deeply sensitive artists of the American modern period. Whether he was painting floral still lifes, industrial landscapes, or Turkish bathhouses, art was, for Demuth, fraught with personal meaning. A fixture of the vanguard art scene in New York, Demuth navigated the currents of Modernism, producing some of the most exquisite watercolors and original oil paintings in twentieth-century American art. Demuth was born in Lancaster, Pennsylvania, the only child of a well-to-do family. He had an awkward and introverted childhood shaped by a childhood illness, Perthes, a disease of the hip that not only left him permanently lame, but, as part of the “cure,” bedridden for two years in the care of his mother. This long period of incapacitation had a deep impact on Demuth, who came to see himself as an invalid, an outsider who was different from everyone else. It was perhaps during this period of indoor confinement that his keen interest in art developed. Several relatives on his father’s side had been amateur artists, and, following his convalescence, his mother encouraged his artistic pursuits by sending him to a local painter for instruction. The majority of his early pictures are of flowers, a subject for which Demuth maintained a lifelong passion. Following high school, Demuth enrolled at the Drexel Institute of Art in Philadelphia, a school renowned for its commercial arts program. He advanced through the program rapidly, and, in 1905, at the encouragement of his instructors, he began taking courses at the Pennsylvania Academy of the Fine Arts. The two leading teachers then at the Academy were William Merritt Chase and Thomas Anshutz. Anshutz, himself a former student of Thomas Eakins, was well liked by his students, and is best known as the teacher of Robert Henri, John Sloan, and several of the other artists of the Ashcan School. Demuth, too, adopted a similar idiom, working in a controlled, realistic manner while at the Academy, where he remained until 1910. In 1907, Demuth made his first trip to Europe, staying in Paris. He spent time on the periphery of the art scene composed of the numerous American artists there, including John Marin and Edward Steichen. He returned to Philadelphia five months later, and immediately resumed courses at the Academy. Despite his introduction to advanced modern styles in Europe, Demuth’s work of this period retains the academic style he practiced before the trip. It wasn’t until he had summered at New Hope, Pennsylvania, in 1908 and 1911, that his style began to evolve. New Hope was a prominent American Impressionist art colony whose members were largely affiliated with the Pennsylvania Academy. Demuth dropped the conservative tone of his style and adopted a freer and more colorful palette. Although he remained based in Philadelphia, Demuth frequently went to New York during this period. Many of the same American artists of the Parisian art scene Demuth had encountered on his earlier European trip now formed the nucleus of New York’s avant-garde, which centered around Alfred Stieglitz’s 291 gallery. It wasn’t long before Demuth began to apply modernist-inspired strategies to his work. He was particularly influenced by the watercolor work of John Marin, also a former student of Anshutz, whose bold use of color in the medium Demuth freely adapted into looser washes of color. In 1912, Demuth again left for Paris, this time studying in the Académie Moderne, Académie Colorossi, and Académie Julian. In Paris Demuth met the American modernist Marsden Hartley. Hartley, a principal figure in the expatriate art circle, acted as a mentor to Demuth, and introduced him to the wide array of modern styles currently practiced in Europe. Hartley also introduced Demuth to many of the members of the Parisian avant-garde, including Gertrude Stein. Demuth was an aspiring writer, and he spent many hours in conversation with Stein. He wrote extensively during this period, and published two works shortly after his return to America. He also developed an interest in illustrating scenes from literary texts. From 1914 to 1919, Demuth produced a series of watercolors of scenes from books such as Emile Zola’s Nana and Henry James’s The Turn of the Screw. Upon his return to America, Demuth settled in New York. In 1914, Demuth had his first one-man show at Charles Daniel’s gallery, which promoted emerging modern American artists, including Man Ray, Rockwell Kent, Yasuo Kuniyoshi, Stuart Davis, and Max Weber. Demuth drew closer to the artistic vanguard in New York, becoming friends with many in the Stieglitz and Daniel circles, including Georgia O’Keeffe, Marcel Duchamp, Carl Van Vechten, and Edward Fiske. New York’s cosmopolitan atmosphere and active nightlife appealed greatly to Demuth. In a sketchy style well suited to watercolor, he painted many vaudeville and circus themes, as well as nightclub, café, and bathhouse scenes. Often with Duchamp, Demuth took part in an urban subculture replete with nightclubs, bars, drugs, and sexual permissiveness, which, for a homosexual artist like himself, allowed room for previously unattainable personal expression. Demuth’s pictures of sailors, bathhouses, and circus performers embody a sensual and sexual undercurrent, expressing the artist’s sense of comfort and belonging in the bohemian subculture of New York. Simultaneously, Demuth deepened his interest in floral pictures, painting these almost exclusively in watercolor. His style evolved from the broad color washes of his earlier pictures to more spare, flattened, and sinuous compositions, inspired by the drawings of Aubrey Beardsley and other artists of the Aesthetic Movement. Demuth’s flower watercolors are moody and atmospheric, sensuous and elegant, introspective and yet full of expressive power. Moreover they are beautiful, and are unequivocally among the finest still lifes in American art. Despite numerous subsequent artistic undertakings that led him in a variety of directions, Demuth never stopped painting flower pictures, ultimately adding fruits and other still-life objects to his repertoire. In 1916, Demuth began to develop a style later known as Precisionism, a form of landscape painting infused with Cubism, in which space is divided into precisely drawn geometric regions of color. Demuth first began to paint the landscape in an appropriated Cubist mode while on a trip with Hartley to Bermuda. In these early landscapes, in which the curvilinear forms of trees intersect the geometrically articulated architectural forms, Demuth explored ideas that shaped the future development of modernism in America. The full realization of Demuth’s explorations came after his return to America in 1917, when he turned his attention to industrial subjects. These works derive from a “machine aesthetic,” espoused by New York artists such as Francis Picabia, Joseph Stella, Albert Gleizes, and Duchamp, by which artists viewed machines as embodying mystical, almost religious significance as symbols of the modern world. Rather than painting the skyscrapers and bridges of New York as did most of his like-minded contemporaries, Demuth returned to his home town of Lancaster, where he painted factories and warehouses in a Precisionist idiom. The titles for these pictures are often contain literary references, which serve as clues for the viewer to aid in the decoding of the artist’s meaning. In 1923, Demuth planned a series of abstract “poster portraits” of his friends and contemporaries in the New York art and literary scene. In these “portraits,” Demuth combined text and symbolic elements to evoke the essential nature of his sitters’ distinguishing characteristics. In this fashion, he painted portraits of such artists as Georgia O’Keeffe, John Marin, and Arthur Dove. His most famous poster portrait, I Saw the Figure 5 in Gold...

28.25 X 25.75 Inches framed This piece is featured in A’Court’’s 2024 solo exhibition at Susan Eley Fine Art titled, “Keeping Memories”. Artist Biography:...

Cheerful mid century watercolor still-life of a basket of fruit by Luella Murphy (American, 20th Century). Signed "Luella Murphy" lower left. Displayed in a new beige mat and rustic ...

Estate stamp, verso, for Victor di Gesu (American, 1914-1988) and painted circa 1955. Winner of the Prix Othon Friesz, Victor di Gesu first attended the Los Angeles Art Center and t...

Figurative, still life chalk drawing of black high heels on vintage collaged music sheets. Artwork measures 29 x 33 inches 30 x 37 inches framed, deckle edge paper is floated in natural wood moulding with glass. This modern, graphic chalk drawing on collaged vintage music sheets...

Katie DeGroot This Way More Than That, 2025 watercolor on paper 50 x 60 in. (groo121)

Katie DeGroot Caught, 2025 watercolor on paper 40 x 26 in. (groo122)

Katie DeGroot Nope, 2025 watercolor on paper 40 x 26 in. (groo125)

Xiao Wen Xu's artistic practice is deeply influenced by her profound appreciation for the natural world. This artwork is part of her "Rainbowland Land" series. Through a masterful bl...

Marilla Palmer Kissing the Stamen, 2025 watercolor, sequins, pressed petals, Durabrite prints, stitching on Arches cold press paper 30 x 22 in. (pal255) Marilla Palmer lives and wo...

Signed lower right, 'Burnham SWA' for Jane Burnham Crawford (American 1926-2016) and painted circa 1985. A substantial and loosely painted view of five d...

34.5 X 35 Inches framed This piece is featured in A’Court’’s 2024 solo exhibition at Susan Eley Fine Art titled, “Keeping Memories”. Artist Biography: A...

MEDICINAL PLANTS, PAPAVER SOMNIFERUM L. (OPIUM), 2013 Tempera on paper 49,5 x 38,5 cm Born in 1967 in Trikala, she grew up in Athens, Greece, where s...

'A Buginese boat, Semarang 1898’ Signed, dated, and annotated, upper right Pen, brush and ink on cardboard, H. 11.4 x W. 26.3 cm Literature: Venselaar, 2019, p. 69 (ill.)

Shiri Mordechay's paintings are a whirlwind of emotion and complexity, drawing the viewer into a vibrant and dynamic world. Each piece is packed with countless details, your eyes are...

Still life with blue cup and book 1980's, watercolor on paper, 75x56 cm Jekabs Arturs Springis (1907– 2004) Painter, Latvia 1924 – 1927 – he learned at Aizpute Secondary School 1...

Architectural Floral Wallpaper Fragment 19th Century Italian hand painted floral design wallpaper lined with linen, in gold leaf framed.

Ellen Williams Cosmos I Original Drawing Coloured pencil on A4 150gsm paper Image Size: Signed Sold Unframed This drawing is one in a series of botanical...

'Spring Composition no. 1' watercolor on paper. Gary Bukovnik, who fuses sensual vitality with fluid yet powerful colorations to create floral images of great depth, intensity, and s...

Beth Van Hoesen (1926-2010) was born in Boise, Idaho. She moved with her family to California, and in 1944, enrolled at Stanford University to study fine arts, earning a Bachelor of ...

Composition with split bowl. (Bilateral) Watercolor on paper, 73x54 cm Jekabs Arturs Springis (1907– 2004) Painter, Latvia 1924 – 1927 – he learned at Aizpute Secondary School 1...

Badri Narayan - Still Life - 5 x 5 inches ( unframed size) Ink on paper Inclusive of shipment in ready to hang form. Style : The artist’s paintings are narrative, and titles like ‘Q...

Mary Reilly’s laborious method of toning her paper serves as the starting point for her intricate compositions. She begins by covering the entire sheet with up to eight smooth, unmod...

Iris 7 [2021] original Coloured pencil on 150gsm paper Image size: H:30 cm x W:20 cm Complete Size of Unframed Work: H:30 cm x W:20 cm x D:0.01cm Sold Unframed Please note that insi...

White and Grey By Jo Haran [2020] original Watercolour, gouache and gesso Image size: H:63.5 cm x W:51 cm Complete Size of Unframed Work: H:66 cm x W:64 cm x D:0.001cm Sold Unframed...

Mid Century Italian watercolour on paper of a tablescape, signed and dated (1956) bottom right. The artist is currently unknown. Presented under glass in original, period plain woo...

Strawberries, Original Still Life Study of Fruit Painting, 2018 9" x 12" (HxW) Watercolor on Paper Hand-signed by the artist. A simple composition of warm-toned fruit including an orange persimmon and clementine, a pomegranate in a deep pink, and two ruby red strawberries, this representational still life study by artist Ingrid Dohm...

Still life with brushes. Paper, watercolor, 32x39 cm Dzidra Ezergaile (1926-2013) Born in Riga. School years alternate with summer work in the countryside. In 1947, she began her st...

Pastel by Lech Polcyn

As a reflection on the value we give to objects, this series exposes examples of objects that we use daily and for different reasons ended up gaining very high prices. By redrawing t...

Italian Floral Wallpaper Fragment 19th Century Italian hand painted floral design wallpaper lined with linen, in gold leaf frame.

Katie DeGroot YAY!, 2025 watercolor on paper 72 x 52 in. (groo119)

Golden Lotus I is a mixed media drawing. The drawing is being framed in a finely crafted gilded lacquered wood frame. The inner gilded lacquered wood frame and the Thai silk in magen...

'Large Blue Iris' watercolor on paper. Gary Bukovnik, who fuses sensual vitality with fluid yet powerful colorations to create floral images of great depth, intensity, and size. Int...

Olafur Eliasson (Danish-Icelandic, b. 1967) Herbarium, 2021 Medium: Collage of dried and pressed Nympheas Ellisana water lilies (Latour-Marliac) on Lanaquarelle handmade paper, in fl...

Vase de fleurs by Paul Ranson (1864-1909) Pastel on paper 46.5 x 41.5 cm (18 ¹/₄ x 16 ³/₈ inches) Signed lower right, P. Ranson Executed circa 1900 Proven...

GUIA UPS Stamp and USPS Tracking, Diptych by Rodrigo Spinel From the series Terms and Conditions Chinese ink on Fabriano paper 250 g. Overall Frame size: 52 cm H x 86 cm W x 4 cm D ...

Compass Rose and Flower design. Sealed on the back with the design studio name and number 397 We offer a small number of these original illustration designs by this design studio ba...

This contemporary, realist, still-life, pastel on paper is by artist Ciba Karisik. A moment in time is faithfully captured in a charming series of oil paintings featuring interior s...

'Composition with Tumbling Vases - Screen I', by Gary Bukovnik. Watercolor on mulberry, 28 1/2 x 68 inches, 2019. Hand painted folding screen created with watercolor on mulberry pape...

James Nares Untitled flower monotype, 1988 Monotype on hand made paper Pencil signed and dated by James Nares on the lower right front Frame included: floated in the original wood fr...

A 1930 graphite on pencil drawing of Surrealist still life of an egg beater by notable artist Jan Matulka. Image size: 8 1/2" x 11". Archivally matted to...

Set of 4 Drawings by Rodrigo Spinel From the series Terms and Conditions Chinese ink on Fabriano paper 250 g. Overall Frame size: 104 cm H x 86 cm W x 4 cm D Overall Image size: 64 ...

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...

Clausen and Bavaria. Stamp, Diptych by Rodrigo Spinel From the series Terms and Conditions Chinese ink on Fabriano paper 250 g. Overall Frame size: 44 cm H x 74 cm W x 4 cm D Overal...

Oak Leaf Peace Wreath with Dove and Serpent Around 1700 Black chalk on thin, brownish paper 39,8 x 52,7 cm Inscribed "N" in the centre left This drawing is probably by an Italian Ar...

Matthew Cook Vanitas III (Study) Charcoal & Chalk on Paper 10h x 8w in 25.40h x 20.32w cm FRAMED DIMENSIONS 16h x 14w x 1d in 40.64h x 35.56w x 2.54d cm MLC014 Bio: Matthew Cook ...

Untitled Still Life, 2014 Graphite on paper 17.4 x 20.85 / 44 x 53 cm Nikos Kanarelis was born in Athens, Greece in 1975 where he now lives and works. Βetween 1999 and 2004 he s...

GUIA FEDEX and DHL. Tracking, Diptych by Rodrigo Spinel From the series Terms and Conditions Chinese ink on Fabriano paper 250 g. Overall Frame size: 52 cm H x 86 cm W x 4 cm D Over...

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 ...

Watercolor on handmade Richard de Bas "fleurs" paper Agnes Murray has an extensive exhibition history and she is represented in both private and public collections. Ms. Murray is a p...

Signed lower right 'R. Moscardo' for Ramon Moscardo Fernandez (Spanish, born 1953) and painted circa 1980. A substantial and scintillating, watercolor and gouache still-life comprising a bottle of Anis (Pastis), peaches in a cut glass bowl and a vase of flowers refracting rays of prismatic light across the surface of a lace tablecloth...

Still life with a basket 1970's, watercolor on paper, 76x55 cm Jekabs Arturs Springis (1907– 2004) Painter, Latvia 1924 – 1927 – he learned at Aizpute Secondary School 1927 – 19...

Untitled Still-life, 2014 Graphite on paper, 44 x 60 cm Nikos Kanarelis was born in Athens, Greece in 1975 where he now lives and works. Βetween 1999 and 2004 he studied at the...

Giardino di Rose, 2022 Ink on Toned Paper with Frame, 12.25 x 15.25 inches Transporting the viewer to Florence’s sun-lit rose garden, Justas Varpucanskis...

Flower. Paper, pastel 33x27 cm Victor Karnauh (1950, Dnepropetrovsk Oblast, Ukrainian SSR – 2012, Dnepropetrovsk Oblast, Ukraine) – a painter, a monume...

Francesca Henderson Williams Pear 5 Original Still Life Illustration Drawing Black Ink on Premium Acid Free Paper Image Size: H25 cm x W20cm x D 0.1cm Mounted Size: H30 cm x W25.5 cm...