Fruit Still-life Drawings and Watercolors

Condition: Excellent overall Condition. Original canvas and frame. No restauration necessary. No retouching under UV light. Dimensions with frame 28 x 34 cm. Free US CONTINENTAL Shi...

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...

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. ...

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...

[CHINESE SCHOOL]. Group of Eight Exotic Fruit. 19th century, c.1880. Group of eight watercolour and gouache pith papers of Exotic Fruits, edged in turquoise silk ribbon and laid ...

ABOUT Stephen Basso Stephen Basso's highly original pastels and oil paintings are romantic, yet thought provoking fantasies. His whimsical works are alive with boundless imaginat...

Eve Nethercott, American (1925 - 2015) - Still Life with Basket and Statue (P6.53), Year: 1948, Medium: Watercolor on Paper, Size: 22 x 15 in. (55.88 x 38.1 cm), Description: ...

“The apples in my paintings is full of life, humanity and spirit. Apples come in various forms and colors, just like every human being creates all kinds of life journeys.” Lim Kim Hai devoted himself to paint apples in his entire artist’s career. He started drawing apples when he was studying at École Nationale Supérieure des Beaux-Arts in Paris, France. As a foreign art student needed to save money for living, apple became a common subject for Lim to develop his skills because it is one of cheapest object to buy. A simple and cheap object as an apple, it is also one of favorite subjects to the impressionism master Paul Cézanne. Cézanne’s apple paintings...

A charming still life study depicting a glass of wine surrounded with half wrapped fruit and a small picnic basket.. Unsigned. Presented in a wooden frame with a gilt slip. On paper.

Hans Richard von Volkmann (1860 Halle (Saale) - 1927 ibid.), Clay jug on a bench. Pencil and Watercolour on paper. 20 x 26,7 cm (visible size), 37 x 45 cm (frame), dated and monogrammed lower left "Februar 1890 - HR. V. V." - Minimally tanned. Framed behind glass in a passepartout. About the artwork Using the technique of his early youth - pencil and watercolour - Hans Richard von Volkmann depicts a still life. However, this is not a conventional indoor still life, but an open-air depiction, painted outdoors and not in the studio. It is therefore an open-air painting, characteristic of von Volkmann's oeuvre, which could have been painted in the Willingshausen colony of painters, where open-air painting was programmatically practised there and the artist stayed there that year. And indeed, this painting is a manifesto of open-air painting. Von Volkmann demonstrates that leaving the studio for the light of nature leads to an entirely new quality of art. To prove this, he uses the genre of still life, which can be described as the studio subject par excellence. Moreover, light plays an essential role in the classical still life. It is the real protagonist of the still life. And it is precisely this moment, essential to the still life, that von Volkmann exploits to demonstrate the potential of plein-air painting: He presents the objects as they appear in the sunlight. The date of February and the bare branches in the foreground make it clear that this is a clear winter day in bright sunlight. The delicate plant in the foreground casts a clearly defined shadow, as does the jug. However, the shadow is most pronounced on the jug itself: The underside of the handle appears almost black, making the top, and therefore the jug itself, shine all the more brightly. The shining of the objects in the sunlight is also visible on the bench. As complementary phenomena to the shadow zones, light edges can be seen on the boards of the seats and the upper foot of the bench shines entirely in the light. To achieve this intensity of light, von Volkmann activated the bright white of the painting ground. By depicting the objects in glistening sunlight, von Volkmann demonstrates that this quality of light is only to be found outdoors. And this light leads to a new way of looking at the objects themselves. The jug on the bench seems like an accidental arrangement, as if the artist had stumbled upon this unintentional still life and captured it with fascination. And in this fascination there is a moment of realisation that refers to the objects themselves. It is only when they shine brightly in the sunlight that their true nature is revealed. In this way, sunlight allows the objects to come into their own, so to speak. Sunlight, which is not present in the studio, gives the still life an entirely new dimension of reality, which is also reflected in the colours interwoven by the sunlight: The bench and the jug stand in a harmonious grey-pink contrast to the green of the implied meadow. The emphasis on the jug as the central subject of the picture also implies that the watercolour has not been completed. This non finito inscribes a processuality into the picture, making it clear that something processual has been depicted, the temporality of which has been made artistically permanent. This is why von Volkmann signed the painting and dated it to the month. About the Artist Von Volkmann made his first artistic attempts at the age of 14. He painted many watercolours of his home town of Halle. This laid the foundation for his later outdoor painting. In 1880 his autodidactic beginnings were professionalised with his admission to the Düsseldorf Art Academy. There he studied under Hugo Crola, Heinrich Lauenstein, Johann Peter Theodor Janssen and Eduard von Gebhardt until 1888. Von Volkmann then moved to the Karlsruhe Academy, where he was Gustav Schönleber's master pupil until 1892. In 1883 he came for the first time to Willingshausen, Germany's oldest painters' colony, at the suggestion of his student friend Adolf Lins...

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...

A fine watercolour painting with gouache details by the British artist Christopher Hughes, depicting a still life of apples and grapes. Signed to the lower right-hand corner. Well-pr...

A delicious still life of fish and fruit in a joyous, vibrant palette. There is a mysterious figure entering the scene next to a c,lock in the background. The painting is unsigned an...

David Morrison’s new series of drawings are regal in their naturalism. Morrison uses his extreme attention to detail to give equal weight to both the fruit's delicate features and si...

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.)

In his hyperrealist drawing, "Paper Wasp Series No. 2," David Morrison uses colored pencil to render, in overwhelming detail, an abandoned wasp nest. He crea...

“The apples in my paintings is full of life, humanity and spirit. Apples come in various forms and colors, just like every human being creates all kinds of life journeys.” Lim Kim Hai devoted himself to paint apples in his entire artist’s career. He started drawing apples when he was studying at École Nationale Supérieure des Beaux-Arts in Paris, France. As a foreign art student needed to save money for living, apple became a common subject for Lim to develop his skills because it is one of cheapest object to buy. A simple and cheap object as an apple, it is also one of favorite subjects to the impressionism master Paul Cézanne. Cézanne’s apple paintings...

"Persimmons, Tangerines & Blue Kerchief" is an original watercolor painting by Alicia Czechowski. The artist signed the piece in the lower right. This painting depicts orange persimm...

Signed lower left. Well-presented in a gilt frame with card mount. On watercolour paper.

Vibrant watercolor of pears with surreal patterning by Kathy Garvey (American, b. 1949). Initialed "KG" in the lower right corner. Notes by the artist on verso, including date and ti...

Mushrooms. 1980's, watercolor on paper, 54x75 cm Jekabs Arturs Springis (1907– 2004) Painter, Latvia 1924 – 1927 – he learned at Aizpute Secondary School 1927 – 1930 – learning a...

Artist Commentary: The original work is a watercolor still life painting. Keywords: tomatoes, vegetables, seasonal, still life, representational, produce, green, yellow, red, farm, ...

A strikingly colourful and impressively large contemporary watercolour still life showing a willow pattern cup full of anemones on a...

A soft and hzy interior scene with a botanical still life of flowers and fruit on a table. A view of a continental countryside can be seen through the arched windows. The artist has ...

Ellen Weigall’s From Nature is a captivating still life that showcases her remarkable attention to detail and her skill in composition. The painting presents a sumptuous arrangement ...

Jim's of Lambertville Fine Art Gallery is proud to present this piece by Dora Maar (1907 - 1997). Born Henriette Théodora Markovitch in France, Dora Maar was a 20th century photogra...

Colored drawing on a botanical subject by Laura Fantini. Laura Fantini is an Italian artist living in New York, known for her hyper-realistic minimalist colored pencil still life d...

Cathy Ross creates meticulous and extraordinary still-life paintings in watercolor on Arches paper