Flower Still-life Drawings and Watercolors

A beautifully vibrant pastel still life showing a jug of vibrant summer flowers on a blue check tablecloth. The artist has signed and dated to the lower right corner and the painting...

Ann Bridges Late Afternoon Sunshine (poppies) Contemporary Semi-Abstract Painting Oil based ink on board Image size: 59 x 75 cm Sheet size: 75 x 91 cm Framed size: 83 x 100 cm Sold F...

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...

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...

Rambling Rose by Jo Haran [2020] original Gouache, watercolour ink and gesso. Image size: H:72.5 cm x W:52.5 cm Complete Size of Unframed Work: H:76 cm ...

Delicacy by Jo Haran [2020] original Watercolour, gouache and gesso Image size: H:36.5 cm x W:49 cm Complete Size of Unframed Work: H:38 cm x W:50.7 cm x D:0...

A very fine original antique English botanical watercolour painting depicting this beautiful depiction of a flower/ plant. The work came to us from a private collection in Surrey, England and had been part of an album of works assembled by the artist during the early 1900's. During the Victorian and Edwardian era in Britain, it was very fashionable for ladies of aristocratic and wealthy backgrounds to draw and paint still lifes of flowers and plants that they had picked or seen in gardens. Many were highly accomplished and extremely talented artists, who sadly were not encouraged to exhibit due to society frowning upon such activities. Artist/ School: Caroline Worsley...

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 ...

Jo Haran Petals In Monotone Original Floral Painting Watercolour, Gouache and Gesso on paper Image Size: 73cm x 53.5cm Sheet/Canvas Size: 75.5cm x 56cm Sold Unframed Free Shipping Pl...

Van Amerige - Carrot, Year: 1969, Medium: Color Marker and Pencil Drawing, Image Size: 13.75 x 10.75 inches, Size: 22.25 x 15 in. (56.52 x 38.1 cm)

Gail Norfleet earned her BFA at The University of Texas at Austin, and her MFA at Southern Methodist University. She has had solo exhibitions at The McKinney Avenue Contemporary and ...

Eve Nethercott, American (1925 - 2015) - Roses and Irises in Vase (P1.22), Year: 1957, Medium: Watercolor on Paper, Size: 22 x 15 in. (55.88 x 38...

Eve Nethercott, American (1925 - 2015) - Vase of Spring Flowers (P2.48), Year: circa 1960, Medium: Watercolor on Paper, Image Size: 21 x 13.75 inches, Size: 22 x 15 in. (55.88...

Eve Nethercott, American (1925 - 2015) - White Vase of Flowers (P2.47), Year: 1960, Medium: Watercolor on Paper, Image Size: 19 x 13 inches, Size: 22.5 x 15 in. (57.15 x 38.1...

Eve Nethercott, American (1925 - 2015) - Flowers (P5.55), Year: 1960, Medium: Watercolor on Paper, Size: 22 x 15 in. (55.88 x 38.1 cm), Description: Pouring over the edge of ...

Eve Nethercott, American (1925 - 2015) - Flowers (P6.50), Year: 1948, Medium: Watercolor on Paper, Size: 22 x 15 in. (55.88 x 38.1 cm), Description: Eve Nethercott's colorful...

Eve Nethercott, American (1925 - 2015) - Flowers (P6.23), Year: 1958, Medium: Watercolor on Paper, Size: 22 x 29 in. (55.88 x 73.66 cm), Description: This cropped still life ...

Unsigned Graphite and colored pencils on laid paper

'San Andreas Still Life no. 3' by master watercolorist Gary Bukovnik, who fuses sensual vitality with fluid yet powerful colorations to create floral images of great depth, intensit...

ARTHUR WARDLE (1864-1949) Study of a Water Hyacinth Signed Watercolour and bodycolour on linen, framed 33.5 by 23 cm., 13 ½ by 9 in. (frame size 52.5 by 43 cm., 21 ¾ by 17 in.) A...

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...

This work by Ingrida Irve makes us travel to Latvian fields around midsummer, where poppies are dominating the color palette. Ingrida Irbe (1969) Born 15th of June 1969 in Riga ...

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...

Watercolor on heavy paper realized by Carlo Ravagnan in 1969. Hand signed and dated lower left. Signed also on rear. Excellent condition. Carlo Ravagnan was born in Udine on Septe...

Mary Finlayson "Spring Equinox 1" Flashe, Gouache, Spray Paint, Oil Stick on Canvas 25.25 x 21.25 inches, framed Mary Finlayson’s interest in painting ...

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

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...

Artist Commentary: This piece is a watercolor floral still life painting. Keywords: flowers, floral, still life, vase, bouquet, African Violets, purple...

Titled lower left. Signed lower right: S. Headley Van Campen Susan Van Campen’s plein-air oil paintings are painted with the confident brushwork of a watercolorist, achieving bold i...

Watercolor on heavy paper realized by Carlo Ravagnan in 1970s. Hand signed lower right. Dated on rear. Excellent condition. Carlo Ravagnan was born in Udine on September 4, 1911, ...

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...

Quand le Soleil se Couche et Mes Idées se Levent by Lélia Pissarro (b. 1963) Tempera on paper 20 x 24 cm (7 ⁷/₈ x 9 ¹/₂ inches) Signed lower right, Lélia Pissarro Executed in June 20...

This exquisite watercolor, titled "Little Garden Flowers (Still Life)", by renowned artist Elisabeth Spalding (1868-1954), beautifully captures a delicate arrangement of flowers in v...

Colored Pencil on Museum Board Signed and Dated; Impressed with artist's stamp lower right

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, Eng...

Signed lower right: Henry B. Snell Provenance Private collection Born in Richmond, England, on September 29, 1858, Henry Bayley Snell was the son of Edward and Elizabeth Snell. At ...

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

Watercolor on heavy paper realized by Carlo Ravagnan in 1960s. Hand signed and dated lower right. Excellent condition. Carlo Ravagnan was born in Udine on September 4, 1911, died ...

In this small painting, Sylvia Spicuzza presents the viewer with a simple trillium flower, the white petals framed by blue-green leaves. 10 x 7.25 inches, artwork 19.75 x 17.25 inch...

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,...

Flowers. 2007, paper, pastel, 90x65 cm

Rose 13 [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 ins...

Colored Pencil on Museum Board Signed and Dated; Impressed with artist's stamp lower right Archivally framed with black float mount and bleached maple surround.

Cherry Blossom No. 12, Original Minimalist Floral Still Life Study, 2020 20" x 16" (HxW) Watercolor on Cold Pressed Paper A simple and minimalist nature study, this botanical watercolor painting features a large, pink cherry blossom caressed by a delicate sprig of leaves in a deep olive green. A gray and blue shadow indicates depth, allowing the flower to appear as if it is popping out of the composition. The soft color palette and brush strokes, along with the bleeding nature of the watercolors, gives this work an expressive and impressionist feel. Images with frames are examples only; this work comes unframed. Artist Commentary: Original watercolor painting on 140 lb Arches cold pressed paper (2019). About the Artist: Elizabeth Becker...

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

A new series inspired by architecture, décor and stylish personalities of the world of interior design. The worlds of fashion, society and pop culture are captured in the illustrati...

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...

'Pink Dahlias' by master watercolorist Gary Bukovnik, who fuses sensual vitality with fluid yet powerful colorations to create floral images of great depth, intensity, and size. In...

'San Francisco Symphony Still Life no. 4' by master watercolorist Gary Bukovnik, who fuses sensual vitality with fluid yet powerful colorations to create floral images of great depth...

Colored Pencil on Museum Board Signed and Dated; Impressed with artist's stamp lower right Archivally framed with black float mount and bleached maple surround.

'Daffodils in a Tall Vase' by master watercolorist Gary Bukovnik, who fuses sensual vitality with fluid yet powerful colorations to create floral images of great depth, intensity, a...

Barbara Regina Dietzsch, 1706-1783 White Primrose, Japanese Quince, a Beetle, and a Butterfly, ca. 1730 Opaque watercolor painting inscribed on...

Cornelis Johannes de Bruyn (c. 1763- c. 1828) A lovely pair of 18th century Dutch still life watercolors depicting assorted flowers in a glass vase. Watercolor on paper 13 5/8 x 9 5/8 inches (34.6 x 24.4 cm) each Framed: 23 x 18 1/2 inches each Signed: J.C.J. Bruyn 1797 G (Please request photos of the actual frame) Johannes de Bruyn made his debut as a flower and fruit still life painter in the 19th century in Utrecht. He was a student of the painter G.J. van Hulstyn. In our pair of flower still lifes, Cornelis Johannes de Bruyn has depicted two bouquets of colorful flowers set in a stone niche. They are delicate, highly detailed, realistic pieces painted in the vein of seventeenth century Old Master works. Each bouquet is arranged in a low glass bowl on a small marble pedestal...

Bernard Myers (British, 1925 – 2007) Sunflowers on pink oil on paper signed with initials ‘B. M’ (lower right) 24 x 31.3/4 in. (61 x 80.7 cm.) (including frame) From the estate of Be...

Bernard Myers (British, 1925 – 2007) Red Peonies Pastel on paper Signed ‘B. Myers’ (lower left) 24 x 31.3/4 in. (61 x 80.7 cm.) (including frame) From the estate of Bernard Myers Be...

Colored Pencil on Museum Board Signed and Dated; Impressed with artist's stamp lower right Archivally framed with black float mount and bleached maple surround.