Shirt Still-life Drawings and Watercolors

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

(Photographed behind the glass of the frame, so please pardon reflections.) As you can see from the receipt, this fine drawing was originally purchased for $3,500 on Julia Row in New Orleans. A New Orleans legend, Franklin Adams moved to the city in 1958 to teach painting and drawing at Newcomb College. Over the following years, he applied his wide-ranging talents to architecture, set design, logo design and other diverse projects. He was good friends with Mignon Faget...

The work of Linda Clerget is realized in an impressionist style à la gouache alla prima. The colors are broken and worked in the fresh. Linda Clerget is a French artist known intern...

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 ...

Lilacs and Peonies, Mid Century Floral Still-Life with Pink & Purple Vibrant mid century floral still-life featuring lilacs and peonies by Carolyn Tyson (American, b-1941). This lov...

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...

Jewel Heads in Darkness [2021] Original Flowers Gouache, watercolour ink and gesso. Image size: H:53 cm x W:64 cm Paper Size: H:56 cm x W:67.5 cm x D:0.01cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look 'Jewel Heads in Darkness' is an original painting by Jo Haran. "I wanted to try and capture the frailty of anemones nestled in darkness. I used jewel colours....strong pink, yellow, hints of ultramarine and neon green as a contrast to the moody foliage backdrop." 'There are always flowers for those who want to see them" - Henri Matisse. "I have been painting flowers for over 20 years as an artist and as a senior textile designer selling prints to clients internationally including Valentino, Leonard, Paul and Joe and high street brands such as Topshop and Marks and Spencer...

Highly detailed and precise illustration of a 1966 Mercury Commuter Station Wagon by Joseph Yeager (American, 20th Century). Signed in the lower right portion of the illustration. This piece is on heavy cardstock. Presented in a new black mat. No frame. Joseph "Joe" Yeager (American, 20th Century) was raised in Cleveland Ohio, where he went to art school at night and started his art career at 19. He was a commercial artist for the Cleveland Press...

Signed lower right, 'C.A. Bartels' for Cornelius Anton Bartels (Dutch, born 1890) and painted circa 1945. A still-life with a sculpture of the Daoist immortal, Liu Haichan...

Botanical watercolour and gouache on paper circa 1920 by French fauvist painter Raoul Dufy. The work depicts flowers in red and butterflies in blues, yellows, black and white. This work was executed by Dufy as a fabric design. Dimensions: Framed: 17"x27" Unframed: 10"x20" Provenance: Private collection of works by Raoul Dufy for Bianchini Ferier Bianchini Ferrier Collection - Christie's London - July 2001 SF Fall Show 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...

Braided Splendor: The Art of Twisted Gold Jewelry Design circa mid 20th century by Paul Touzet (French b. 1917) original gouache painting, with penc...

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 ...