Watercolor Still-life Drawings and Watercolors

Signed lower right, 'Charlotte A. Morton' (American, 1885-1974) and painted circa 1955. A sensitive study of various blossoms including geraniums, lupin and catmint. A landscape painter and teacher, Charlotte Augusta Morton graduated from Kansas State College before continuing her education at the Art Institute of Chicago, the Art Students League of New York and the Pratt Institute. After moving to California and attending Stanford University where she received her Masters in Education, Morton taught at San Jose State College before moving to Monterey and joining the Carmel Art...

"Calla Lily" is an original watercolor by Sylvia Spicuzza. The artist signed the piece "Miss Spicuzza" in the lower right. This piece depicts a calla lily blooming in various greens....

Latin American Women w/ Calla Lilies Original Watercolor by Sabine A beautiful original watercolor of three Latin American women (Peruvian / Bolivian) with Calla Lilies. Signed in ...

Signed (at lower right): FJK [partial]

White Flower Display in a Glass Vase by Henri Miloch (1898-1979) signed lower right watercolour painting on artist's paper, unframed sheet: 18 x 12 inches Charming still life pain...

Abstracted still life by Les Anderson (American, 1928-2009). Unsigned, but was acquired from the estate of Les Anderson in Monterey, California. No frame. Image size: 20"H x 14"W. L...

An original airbrush painting by Shirrell Graves depicting a single Pink Peony Flower.

Signed lower right, 'Kevin Elston' (American, 20th century) and painted circa 1985. A substantial watercolor still-life of orchids and a persimmon, arranged with other objects relat...

Watercolor still life painting of brilliant roses by contemporary Burmese artist Ko Khine Thin Thar, 2013. Initialed and dated lower right. Displayed ...

"Giant Hybrid Hibiscus" is an original mixed-media painting by David Barnett, signed in the lower right corner. The giant flower of the titled is a vibrant pink circle in the center,...

"Yellow Cadillac" is an original watercolor painting by Bruce McCombs. The artist signed the piece lower right. It reatures a shiny yellow car with its doors open sitting on a suburb...

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...

"North Sea", by Christina Haglid, is a meticulously detailed watercolor. The single bloom suspended above the vase has translucent water droplets covering its soft peach colored pet...

"Sunlit Tropical Orchids" is an original mixed media piece by David Barnett, signed in the lower right. The expressive brush strokes come together to create brilliant red orchids on...

Created in 2017 this series, Baggage Claim, speaks to the symbolic emotional weight one accumulates through life and how the accumulations weigh down the spirit. The artist used handbags...

Painted circa 1955 and stamped verso with Victor Di Gesu Estate stamp. Winner of the Prix Othon Friesz, Victor di Gesu first attended the Los Angeles Art Center and the Chouinard Ar...

Skilled and very beautiful watercolor by I. P. Gardner from the 1920s to 1930s. Artist is well known for her watercolors of life in the Middle East during that period. Signed lower l...

Amaryllis II original watercolor in vibrant red and green from Cleveland-born and educated Gary Bukovnik who has lived in San Francisco for over 40 years. Bukovnik’s art conveys a mo...

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...

Summer Floral Display in a Green Jug by Henri Miloch (1898-1979) signed lower right and dated 1947 watercolour painting on artist's paper, unframed sh...

14.75 x 17.75 inches, artwork 22.88 x 25.75 inches, frame Born in 1908, Sylvia Spicuzza was the daughter of noted painter Francesco Spicuzza. Sylvia devoted herself to teaching art ...

Gallery tags on verso. Work is frame an in very good condition.

Highly detailed still life or seashells and coral on a wood table by Joseph Yeager (American, early-mid 20th Century). Background has an ocean scene with a sailboat and palm trees. Y...

Double-sided mid century watercolor of Pleasure Point Cove, Monterey Bay by listed artist Doris Ann Warner (American, 1925-2010). On verso is a beautiful botanical watercolor study....

"My watercolor paintings depict narrative dilemmas, light-hearted vignettes, or staged existential dramas on a microcosmic scale, as they might be seen through a shallow focus lens. ...

Represented by George Billis Gallery, NYC & LA -- "My watercolor paintings depict narrative dilemmas, light-hearted vignettes, or staged existential dramas on a microcosmic scale, a...

"Giant Hybrid Hibiscus Butterfly with Flower" is an original mixed media piece by David Barnett. The artist used ink, watercolor, iridescent oil pastels, and a collaged image of a dr...

Gaston COPPENS (1909 - 2002) Tribute to Photography Original watercolor and tempera Bearing the artist stamp on the back On vellum (oval cut) 45 x 62 cm (c. 18 x 25 inch) Excellent...

Image dimensions: 17 x 22 inches Framed dimensions: 27 x 32 inches The artistʼs inscription on the verso side of this work reads: What amazed me about being on Daufuskie at Miss Ru...

Watercolor on paper

Beautiful abstracted watercolor still life with white and yellow daisies on a soft purple and blue background, on heavy paper by Les Anderson (American, 1928-2009). This piece is uns...

"My watercolor paintings depict narrative dilemmas, light-hearted vignettes, or staged existential dramas on a microcosmic scale, as they might be seen through a shallow focus lens. ...

"Sky Flower Reflection" is an original watercolor and piece by David Barnett, signed along the bottom edge. The piece incorporates a dried rose in the center with circles of watercol...

Mid-century French watercolor painting of red tulips in vase against blue/purple background by artist Madeleine Scali, circa 1960. Original ...

French watercolor of a vibrantly hued tabletop, featuring bottles and fruit, by artist Madeleine Scali (1911-2000), 1980. Dated lower left. Original artwork on paper displayed on...

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 ...

Vibrant mid-century watercolor still-life of bright pink roses with petals falling on the table by Celia B. Michelena (American/Mexican, 1910-2006). Signed "Ce...

watercolor on paper, 39"x40" (artwork size) 43" x 43.75"x2" framed size This beautifully painted watercolor depicts a Canada goose standing atop a modernist chair with the natural c...

"Morph Dog Brand Spumoni Ice Cream" is an original mixed media work with watercolor and oil pastel by David Barnett, signed in the lower right. This cheerful work is an homage to ice...

"Shield, Kiowa, Central Plains c. 1850" is an watercolor painting by David Barnett, signed in the lower right. It is an illustration of a painted shield from the Kiowa Native America...

"My watercolor paintings depict narrative dilemmas, light-hearted vignettes, or staged existential dramas on a microcosmic scale, as they might be seen through a shallow focus lens. ...

"Venice - Produce Market" is an original watercolor on Holbein watercolor paper by Craig Lueck. These petite watercolors that make up Lueck's portfolio serve as windows into the arti...

This work is unframed and is sold as a set with 3 other "Palm Details" listed.

watercolor on paper, 39"x40" (artwork size) 43" x 43.75"x2" framed size This beautifully painted watercolor depicts a Canada goose standing atop a modernist chair with the natural c...

In her ballpoint pen and gouache still-life, "Tree #55," Dina Brodsky uses a sketch-like approach to capture the texture of the tree bark, and the delicacy of its branches. Brodsky c...