20th Century Still-life Drawings and Watercolors

Les Poissons is an original Contemporary artwork realized in the 1970s in Italy. Watercolor on paper. Passepartout is included: dimensions 50 x 35 cm. Excellent conditions. Imag...

Gold and Diamanté Leaf Duo Jewelry Design circa mid 20th century by Paul Touzet (French b. 1917) original gouache painting, with pencil on tracing paper unframed left design overall ...

Flowing Gold Brooch and Twisted Leaf Duo Jewelry Design circa mid 20th century by Paul Touzet (French b. 1917) original gouache painting, with pencil on tracing paper unframed left d...

Interwoven Elegance in Gold and Silver A Fusion of Gold and Sapphire Jewelry Design circa mid 20th century by Paul Touzet (French b. 1917) original gouache painting, with pencil on t...

Interwoven Elegance in Gold and Silver Jewelry Design circa mid 20th century by Paul Touzet (French b. 1917) original gouache painting, with pencil on tracing paper unframed overall design overall paper size: 6.75 x 10 inches condition: the overall condition is very good, minor creasing to the corners/ edges, very minor staining. provenance: private collection, France We are honored to introduce to you an incredible and unique collection of original jewelry design artwork. We have over 100 similar original works - some offered as pairs, some individually. For the collector of jewelry they offer the ultimate accessory for their home. Equally, these would look stunning framed together in a jewelry or fashion store or even a vintage bistro or hotel! Discover the timeless elegance of original French vintage jewelry design artwork by the illustrious Paul Touzet, a master jeweler whose craftsmanship has left an indelible mark on the world of haute joaillerie. Born on January 12, 1917, Touzet's journey into the art of jewelry began at the tender age of 13, training under the prestigious Mauboussin in Paris. His talent and dedication quickly set him apart, and by November 17, 1944, he had officially registered his business, soon after obtaining his hallmark—a distinctive "P.A.T. / a bicycle wheel butterfly"—on December 7, 1944. Paul Touzet's artistry is celebrated for its collaborations with iconic houses such as Van Cleef & Arpels, Boucheron, and Sterlé, reflecting the highest standards of French luxury. His exclusive designs have graced the likes of legendary figures, including the beloved singer Charles Aznavour, for whom he crafted exquisite pieces. Touzet's craftsmanship even reached royal circles, with bespoke tuxedo buttons personally delivered to Prince Rainier of Monaco and stunning jewelry designed for his wife, Princess Grace of Monaco (Grace Kelly). Each piece of Touzet's original design...

The Plough is an original pen drawing realized by an unknown artist of the Mid-20th Century. The artwork is in very good conditions and mounted on a white cardboard (49x34). There ...

Sapphire Star: Gold Ring with Midnight Blue Gemstone Cluster Jewelry Design circa mid 20th century by Paul Touzet (French b. 1917) original gouache painting, with pencil on tracing p...

Still Life is an original pastel drawing on ivory-colored paper realized by Herta Haussmann (1892-1972). Not signed. The state of preservation is very good. Stamp of the artist's ...

The Pears is original drawing in pastel on paper realized by Herta Hausmann. With the stamp of "Atelier Herta Hausmann" on the rear. Good conditions except for folding at the top. ...

Banana is an original drawing in pen on paper realized by Mick Michel, in 1962, Hand-signed on the lower left, not readable. In good condition. Sheet dimension: 22x 27 cm.

Whimsical still life of various shells, fruit, and bottles, including a wine bottle with a label stating the artist's name and crude self-portrait, by Les (Leslie Luverne) Anderson (...

This watercolour is hand signed in black ink ‘Dora Maar’ in the upper left corner of the sheet. Note: The artist has playfully applied the pointillist style to her signature to ref...

A happy and bright floral painting with artist-painted frame by Irish artist Amanda Watt. Anthurium Amanda Watt, Irish (1960) Date: 1991 Acrylic on Paper, signed l.r. Size: 48 x 60 i...

A delicate and finely executed early 20th Century watercolour still life showing a bowl of apples and bananas, a delicate green goblet with hobnail glass...

Charming still life of a teapot and fan with bright orange persimmons against a backdrop of bold watercolor color fields by Les Anderson (American, 1928-2009). Signed lower left. Acq...

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...

Abstracted still life of a vase of red flowers and fruit blending into an abstract expressionist watercolor composition by Les Anderson (American, 1928-2009). Signed "Les Anderson" l...

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 ...

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...

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)...

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...

Colorful two-sided watercolor; a still-life of brightly colored flowers with a bowl of fruit, and a coastal seascape on verso, by Les (Leslie Luverne) Anderson (American, 1928-2009)....

Flowers is an original orangish drawing in pastel realized by Gustave Bourgogne, Hand-signed by the artist on the rear. The State of preservation is good. Sheet dimension: 59 x 46 ...

Delicate watercolor, pen and ink floral study of light pink roses, with brilliant attention to detail and a signature delicate style, by California artist Deborah Eddy (American, b.1...

"Red Peppers" is a color pencil drawing, circa 1995, is by Emilio Sanchez. It is drawn to the paper edge and unsigned. Noted "Emilio Sanchez Foundation" on verso. EMILIO SANCHEZ (1...

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...

Botanical gouache on paper circa 1920 by French fauvist painter Raoul Dufy. The work flowers in red and blues with green foliage against a yellow and white stripped background. Dimensions: Framed: 25"x20" Unframed: 18"x13" Raoul Dufy was one of a family of nine children, including five sisters and a younger brother, Jean Dufy, also destined to become a painter. Their father was an accountant in the employ of a major company in Le Havre. The Dufy family was musically gifted: his father was an organist, as was his brother Léon, and his youngest brother Gaston was an accomplished flautist who later worked as a music critic in Paris. Raoul Dufy's studies were interrupted at the age of 14, when he had to contribute to the family income. He took a job with an importer of Brazilian coffee, but still found time from 1892 to attend evening courses in drawing and composition at the local college of fine arts under Charles Marie Lhullier, former teacher of Othon Friesz and Georges Braque. He spent his free time in museums, admiring the paintings of Eugène Boudin in Le Havre and The Justice of Trajan in Rouen. A municipal scholarship enabled him to leave for Paris in 1900, where he lodged initially with Othon Friesz. He was accepted by the École des Beaux-Arts, where he studied under Léon Bonnat, whose innate conservatism prompted Dufy to remark later that it was 'good to be at the Beaux-Arts providing one knew one could leave'. And leave he did, four years later, embarking with friends and fellow students on the rounds of the major Paris galleries - Ambroise Vollard, Durand-Ruel, Eugène Blot and Berheim-Jeune. For Dufy and his contemporaries, Impressionism represented a rejection of sterile academism in favour of the open-air canvases of Manet, the light and bright colours of the Impressionists, and, beyond them, the daringly innovative work of Gauguin and Van Gogh, Seurat, Cézanne, Toulouse-Lautrec and others. Dufy was an out-and-out individualist, however, and was not tempted to imitate any of these artists. He produced, between 1935 and 1937, Fée Electricité (Spirit of Electricity), the emblem for the French utilities company Electricité de France (EDF). Dufy visited the USA for the first time in 1937, as a member of the Carnegie Prize jury. In 1940, the outbreak of war (and his increasingly rheumatic condition) persuaded him to settle in Nice. When he eventually returned to Paris 10 years later, his rheumatism had become so debilitating that he immediately left for Boston to follow a course of pioneering anti-cortisone treatment. He continued working, however, spending time first in Harvard and then in New York City before moving to the drier climate of Tucson, Arizona. The cortisone treatment was by and large unsuccessful, although he did recover the use of his fingers. He returned to Paris in 1951 and decided to settle in Forcalquier, where the climate was more clement. Within a short time, however, he was wheelchair-bound. He died in Forcalquier in March 1953 and was buried in Cimiez. Between 1895 and 1898, Raoul Dufy painted watercolours of landscapes near his native Le Havre and around Honfleur and Falaise. By the turn of the century, however, he was already painting certain subjects that were to become hallmarks of his work - flag-decked Parisian cityscapes, Normandy beaches teeming with visitors, regattas and the like, including one of his better-known early works, Landing Stage at Ste-Adresse. By 1905-1906 Friesz, Braque, Matisse, Derain, Vlaminck, Van Dongen and Rouault were described collectively as Fauves (the wild beasts). What they had in common was a desire to innovate, but they felt constrained nonetheless to meet formally to set out the guiding principles of what promised to be a new 'movement'. Dufy quickly established that those principles were acceptable; moreover, he was most impressed by one particular painting by Henri Matisse ( Luxury, Calm and Voluptuousness) which, to Dufy, embodied both novelty and a sense of artistic freedom. Dufy promptly aligned himself with the Fauves. Together with Albert Marquet in particular, he spent his time travelling the Normandy coast and painting views similar...

Edward Ridley (British, 1883-1946) A circular design featuring ivy in blossom Gouache 9.7/8 in. (25 cm.) tondo This design was one of 5 submitted for ACT...

John Urbain, Belgian/American (1920 - 2009) - Three Fruit, Medium: Watercolor on Paper, signed in pencil, Size: 11.25 x 17.5 in. (28.58 x 44.45 cm)

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...

Tiffany Vase Designs Group of Three Porcelain Vase designs. Paris, [1920’s]. Group of three original watercolour designs on paper, with marginal stamps “Planche d’aquarelle” with ...

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

Jehudith Sobel (1924-2012 ) Polish/Jewish artist (also known as Judyta Sobel) Judith Sobel was born in Lwow, Poland in 1924. After Word War II she attended the Academy of Fine Arts in Lodz, Poland from 1947-1950, where she studied with the famous Abstract Constructivist, Wladyslaw Strzeminski and Stefan Wegner from whom she learned the principles of Modern Art as per the European Cubists. She was also part of the First Exhibit of Modern Art in Krakow in 1948/1949. From Poland she emigrated to Israel, where she exhibited and was collected by the major art museums of Israel including the Museum of Modern Art at Haifa. In 1956, Sobel came to New York on a scholarship and before that she lived in France for two years. Same year she received the First Prize at the Exhibition in the Saks Gallery...

John Urbain, Belgian/American (1920 - 2009) - Orange, Pear and Lemon, Year: circa 1975, Medium: Watercolor and Graphite on paper, signed in pencil, Size: 11.5 x 16.5 in. (29.21 x 4...

Stamped, verso, with estate stamp for Victor Di Gesu (American, 1914-1988) and created circa 1950. Winner of the Prix Othon Friesz, Victor di Gesu first attended the Los Angeles Art...

Zygmund Jankowski (1925–2009) painted traditional subjects with exuberant irreverence for traditional rules of color, composition, and perspective. He disparaged imitation and deligh...

Stamped, verso, with estate stamp for Victor Di Gesu (American, 1914-1988) and created circa 1950. A still-life of pears and apples with stems and leaves set in a terra-cotta bowl. ...

Beautiful watercolor still-life of Calla lily and other flowers by Les (Leslie Luverne) Anderson (American, 1928-2009). From the estate of Les Anderson in Monterey, California. Signe...

"Red Peppers" is a color pencil drawing by artist Emilio Sanchez. It is drawn to the paper edge and initialed "ES" in the lower left. "Emilio Sanchez Found...

Vibrant watercolor of a colorful living room and the view outside the window by listed artist Doris Ann Warner (American, 1925-2010). Signed "Warner" lower right. Unframed. Image siz...

White Iris & Spring Flowers Bouquet, Mid Century Floral Still Life Beautiful mid century floral watercolor still life of a bouquet with white irises and other blooming flowers by H...

Still life with vase and watermelon by Les (Leslie Luverne) Anderson (American, 1928-2009). From the estate of Les Anderson in Monterey, California. Signed "Les Anderson" lower right...

Flowers were one of Culver's favorite subject. This stunning portrait of a red flower draws the viewer into its very center as powerfully as any flower portrait by Georgia O'Keeffe. It is the idyllic flower that can be described as in the romantic style wherein the subject depicted is a more desired or dramatic version of what actually is. It is signed and dated by the artist on the lower left. This piece has been professionally reframed with acid-free matting and museum glass. In a 1952 Detroit Free Press article, entitled “Artist Explains His Work,” Culver was asked why he painted the way he did. He stated: “I try to ‘see’ though not too exactly; I try to think though not too ponderously; I feel emotion yet I try not to become overwrought. I interpret rather than describe, and design rather than depict. I work with values, not light and shade; hence, when I am successful, I achieve substance rather than three-dimensional form, and this satisfies me as being wholly sufficient. In my work I wish to be serious without becoming a bore, exuberant without being frivolous, humorous without being silly. I believe that good paintings are conceived, not contrived; and I am interested in art much more than in pictures.” Charles Culver...

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 ...

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...

Clean and detailed watercolor of blue flag irises by David Wang (Chinese-American, 20th Century). Signed in the lower right corner by the artist. Presented in a double mat of cream and light purple, and a wood frame with plexiglass. Image size: 20.5"H x 28"W David Wang is a native of Beijing, China. He gained his education from the Beijing Education College of China in 1984, where he learned various techniques in drawing, watercolor, oil painting, sculpture, graphic design, and Chinese watercolor. After receiving his Bachelor of Arts Degree, he became a fine arts teacher. During his eight years of teaching, he has taught hundreds of quality students, some becoming professional artists and cinematographers. Wang has also accomplished several major art and design projects, such as designing and creating an exhibit of the Terra-Cotta army warriors in the Forbidden City and interior designs for shopping plazas in Beijing. In 1988, David came to the U.S as a visitor scholar and studied at the University of Southern California in Los Angeles. After his studies in 1992, he continued his profession as a full-time artist. For twelve years, he had a successful career creating visual art for the Walt Disney Feature Animation Florida Studio. He worked as a senior background artist doing work from concept development to production final work. His work has achieved him credits on: "Pocahontas," "Mulan," "Tarzan," "Lilo & Stitch," "Brother Bear," and "The Princess and the Frog...

EWA PELLO (born in 1964) She studied at the Faculty of Graphic Arts at the Academy of Fine Arts in Cracow. She received her diploma in 1989. She specializes in painting and pastel. I...

Edward Ridley (British, 1883-1946) A design featuring thistles Gouache 15 x 10 in. (38 x 25.4 cm.) This design was one of 5 submitted for ACT certificate...

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 ...

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

Still life with a lemon 1980s, paper, watercolor, 75,5x55,5 cm Jekabs Arturs Springis (1907– 2004) Painter, Latvia 1924 – 1927 – he learned at Aizpute Secondary School 1927 – 19...

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,...

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...

Here for your consideration is a beautiful watercolor still life on heavy paper by the German artist, E. Riehle. Signed and dated lower right, 1903. In good condition with it's orig...

With acrylic details. Signed illegibly to the lower right. Presented in a light wooden frame. On paper.

Stamped verso for estate of 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 an...

Signed lower right, 'E. Brigeois' for Evelyne Brigeois (French, 1946-2016) and dated 19868; additionally titled, verso, 'Hydra, the Cherries'. A view of a townhouse window on the Greek island of Hydra showing a sunlit row of jars filled with freshly preserved cherries basking in the Aegean sun. Born in Troyes, France in 1946, Evelyne Brigeois grew up in the town of Nimes, east of Paris. She subsequently lived and painted in Germany, England and Spain before moving to the United States in her late twenties. Settling in Idaho, she began a forty-year career as a fine artist, exhibiting widely and with success including, regularly, at both Boise's Art in the Park and Art and Roses Festival. Evelyne Brigeois was also the recipient of numerous national and international awards including from the National Watercolor Society, the Detroit Institute of Arts, the Michigan Watercolor Society, The Salem Academy Fine Arts Center and the Louisiana Watercolor Society among others. Her work was frequently featured in national publications including 'U.S. Art' and 'American Artist'. Her style combines a precise and delicate realism with a close observation of light- often with with strongly contrasting shadow. Her talent for serene and lyrical composition distinguishes her landscapes and townscapes of her favorite subjects, the Greek Islands, Venice and rural France. We are pleased to offer this intimate view of a sunlit window on the island of Hydra in the Greek Aegean.

Manfred Schwartz (American, b. Poland, 1909-1970), Still Life of Seashells, Charcoal on Paper, with the artist's signature stamped lower right, unframed. 20" H x 25.5" W. Provenance:...