Watercolor Still-life Drawings and Watercolors

Pensando en ti, Marzo 13, 2014 by Celso Castro Watercolor on archival paper Image size: 39.2 H in. x 28 in. W Unframed ____________ Undefined by medium, Celso Castro’s works each ca...

An original mixed media drawing by American artist A.J. Fries.

Enter the whimsical world of famed children's book illustrators husband and wife team Alice and Martin Provensen. On top of a heavy tree trunk sits a...

Mid 19th Century watercolour drawing of Frederiksborg Castle by noted Danish artist Thorald Læssøe. The work is monogram signed to the back of the paper where there is another drawin...

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.

Painting - flowers in a vase for the interior of the living room, bedroom - watercolor work depicting a beautiful geranium. Contrasting, bright, multifaceted! A bright bouquet of sca...

Painting with a rose. Watercolor. The painting with scarlet rose on a table. . Watercolor painting with a scarlet garden rose on a pastel background. In this artwork, I talk about th...

James Tower. English ( b.1919 - d.1988 ). Still Life of Flowers in a Jug and a Plate of Fruit. Watercolor & ink. Image size 15.4 inches x 13 inches ( 39cm x 33cm ). Frame size 22.2 ...

'Talavera Composition 2' by master watercolorist Gary Bukovnik, who fuses sensual vitality with fluid yet powerful colorations to create floral images of great depth, intensity, and ...

Works on paper

'Talavera Composition 1' by master watercolorist Gary Bukovnik, who fuses sensual vitality with fluid yet powerful colorations to create floral images of great depth, intensity, and ...

This piece titled "Hung Aloft the Night II" is an original piece by Allison May Kiphuth and is made from watercolor and gouache on paper on panel. This piece measures 5”h x 6.25”w x ...

George Mauersberger (American, 20th Century) Veg 4, 2004 Watercolor on paper 9 x 12 inches 13 x 16 inches, framed George Mauersberger completed th...

George Mauersberger (American, 20th Century) Veg 10, 2004 Watercolor on paper 9 x 12 inches 13 x 16 inches, framed George Mauersberger completed t...

George Mauersberger (American, 20th Century) Veg 2, 2004 Watercolor on paper 9 x 12 inches 13 x 16 inches, framed George Mauersberger completed th...

George Mauersberger (American, 20th Century) Veg 7, 2004 Watercolor on paper 9 x 12 inches 13 x 16 inches, framed George Mauersberger completed th...

George Mauersberger (American, 20th Century) Veg 3, 2004 Watercolor on paper 9 x 12 inches 13 x 16 inches, framed George Mauersberger completed th...

To see more, scroll down to "More from this Seller" and below it click on "See all from this Seller." Hilary Hennes (née Hilary Miller) (1919 - 1993) Design for fruit bowls Waterco...

DOROTHY FITCHEW (1889-1975) “I Must Go Seek Some Dewdrops Here, And Hang a Pearl in Every Cowslip’s Ear.” Midsummer Night’s Dream, Act II, Scene I Signed l.l.: DOROTHY FITCHEW ...

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...

An expressive study of tulips in the wind. Presented in a fine black frame. Unsigned. On watercolour paper.

BRITISH SCHOOL (19th Century) Blackberries Watercolour and bodycolour, circular Unframed, in mount only Diameter 8 cm., 3 ¼ in. (mount size 21.5 by 21 cm., 8 ½ by 8 ¼ in.)

A pointillist study of an orange cat sitting playfully in the window of a greenhouse admiring some green chillies. Signed to the lower right corner. On paper.

Work sold to benefit the CLEVELAND INSTITUTE OF ART Joseph B. O’Sickey (American, 1918–2013) Still Life with Fruit Bowl Watercolor and ink on paper Signed lower left 11 x 14 inches ...

Alberto Morrocco OBE RSA RSW RP RGI LLD DUNIV (Scottish, 1919 – 1998) Tomatoes gouache on board 11 x 15. ¾in. (28 x 40cm.) Provenance: Alberto Morrocco Studio Sale, Dundee

An early 1940s fashion study featuring an advertisement for Elizabeth Arden "Safari" Nail Polish at Marshall Field & Company. Provenance: Cornelia Steckl-Jurin, Founder of the Fas...

A charming gouache study depicting a selection of yellow and white wildflowers in a ceramic vase. The artist captures the still life scene in muted, earthy tones. Signed to the lower...

"Car Museum" is an original signed watercolor by Bruce McCombs. It depicts the front of a gleaming car with other automobile memorabilia with exquisite attention to reflections, ligh...

Inscribed in graphite to the reverse with the artist's name and date. On watercolour paper laid to backing card.

BRITISH SCHOOL (19th Century) Still Life of Cherry and Holly Leaf Watercolour and bodycolour Unframed, in mount only 10.5 by 7.5 cm., 4 ¼ by 3 in. (mount size 25 by 21 cm., 6 by 8...

Signed with initials to the lower right and signed in pencil in the margin. On high quality watercolour paper.

A substantial and vibrant, botanical watercolor by this well-listed and widely exhibited California woman artist. Signed lower right 'Sally Bookman' (Bri...

Works on paper

A mid-century watercolour of white daisies in a terracotta jug. Presented in a contemporary wood veneer frame with card mount. Unsigned. On watercolour paper.

Painting measures 28" x 22" and framed 32" x 25 ½" x 2" Hand-signed "J.E. Costigan N.A." lower left. About this artist: John Costigan was a self-taught painter distinguished by hi...

French school of the mid-19th century Watercolor 51 x 37 cm (69 x 55 cm with frame) Signed and dated at the bottom “M. C. / 1857” The hollyhock comes from China, passing through Sy...

A delicate and detailed study of hops against a carved wood backdrop. Well presented in a black wood frame and double card mount. Signed. On paper.

An accomplished still life of anemones in a bowl, painted in watercolours by Isabel Wrightson. Well- presented in a gilt-effect frame with wash-line m...

Coloured Pencils and pastel on Hahnemühle paper - Realistic Figurative original Drawing, Colorful, Interior. Work Title : Intérieur Provence Artist : Gabriel Riesnert...

Work sold to benefit the CLEVELAND INSTITUTE OF ART Joseph B. O’Sickey (American, 1918–2013) Picnic Watercolor and ink on paper Signed lower left 14.75 x 22 inches Joseph O'Sickey,...

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

An original watercolour by Ann Mumford. Well-presented in a double card mount and black reeded frame. Signed by the artist to the lower right. Labelled verso. On paper.

A wonderful still life of sunflowers and salvias, captured in a few simple brushstrokes. Well-presented in a distressed gilt-effect frame with a white inner window and glazing. Unsig...

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 ...

This charming Old Master circa 1800 water colour painting is of morning glory flowers and tendrils entwined with a poppy. The foliage has a metallic green tone and the white morning ...

Original painting on archival paper, circa 1963. Paper Size: 29.5 x 21 inches. Provenance: Estate of Ian Hornak, East Hampton, New York. Notes: Created during Hornak’s undergraduate...

Original painting on archival paper, circa 1963. Paper Size: 29.5 x 21 inches. Provenance: Estate of Ian Hornak, East Hampton, New York. Notes: Created during Hornak’s undergraduate...

Machine Age Industrial WPA Era American Scene Social Realism Mid 20th Century Jo Cain (1904 - 2003) Elliot 17 ¼ x 35 ¾ inches Gouache on board, c. 1930s Signed lower left 27 x 46 in...

This work is part of the artist's Les Naturenales series which celebrates the contemplation of nature through sensual artworks on paper. The background of the work, realized on water...

Original painting on archival paper, circa 1964. Paper Size: 10 x 9 inches (oval). Provenance: Estate of Ian Hornak, East Hampton, New York. Notes: Created during Hornak’s undergrad...

Original painting on archival paper, circa 1964. Paper Size: 14 x 11 inches (oval). Provenance: Estate of Ian Hornak, East Hampton, New York. Notes: Created during Hornak’s undergra...

Dear art lover, I have worked on a new series of small oil paintings. This is the one of them. This series is dedicated to the scenes of everyday life. This painting of lemons is c...