Vehicle Still-life Drawings and Watercolors

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

Botanical watercolour and gouache on paper circa 1920 by French fauvist painter Raoul Dufy. The work depicts flowers in red, blue and green. This work was executed by Dufy as a fabric design. Dimensions: Framed: 19.5"x19.5" Unframed: 12"x12" 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...

ISIDOR Rosenstock, born in Strasbourg in 1880, died in 1956. 20th century painter of landscapes and flowers, watercolor. He exhibited in Paris at the Salon of French Artists, the...

Movies, TV and magazines are constant source of inspiration. Fame, as fleckring and shallow it can be sometimes, is very intriguing to him. The worlds of fashion, society and pop cu...

Newspapers on the Table - Miniature Still Life in Watercolor on Heavy Paper Finely detailed watercolor by California artist Darien Payne (American, b. 1951). Newspapers and a few ot...

A beautiful fresh and lively original French gouache and watercolour of a still-life of roses in a Provençal 'confit jarre'. Signed Jocelyn to the lower right. The work is currently ...

A set of three fine hand painted botanical watercolour studies on silk of tulips by La Roche Laffitte. The works are signed bottom right. Some are titled and numbered (see photos) Th...

Compass Rose and Flower design. Sealed on the back with the design studio name and number 397 We offer a small number of these original illustration designs by this design studio ba...

Chiura Obata Dahlias, 1940 Signed, dated and stamped lower right Watercolor on paper 15 x 9 5/8 inches Born in the Okayama prefecture of Japan, Chiura Obata was adopted by his uncle, an artist. As a child he was trained in ink painting, and at 14 he was apprenticed to the painter Murata Tanryo in Tokyo. He also studied with Kogyo Terasaki and Goho Hasimoto. In 1903, Obata moved to San Francisco and began working as an illustrator for The New World and The Japanese American, two of the city's Japanese newspapers. He also did work as a commercial designer. Obata helped establish the East West Art Society in San Francisco in 1921, which sought to promote cross-cultural understanding through art. This goal was reflected in his embrace of the Nihonga style, which fused traditional Japanese sumi-e ink painting with the conventions of western naturalism. He spent much of the 1920s painting landscapes throughout California, and among his favorite subjects were mountain landscapes. In 1927, he visited Yosemite and the Sierra Nevada, creating over a hundred paintings and sketches of the high country. Obata stayed in the USA until the death of his father in 1928. Between 1928 and 1932, he worked in Tokyo as a painter and transformed his California landscape watercolors...

Black and white landscape drawing of country forest with hints of green pastel charcoal and carbon on Arches paper 8 x 10 inches un...

Robert Reinhardt Von Liski was born in Prussia in 1908. He immigrated to the United States and worked in Chicago as a commercial artist. He is best known for his strong sense of Art ...

Finely detailed figurative illustration of a young woman leaning against a fence. The woman is wearing a plaid dress and bonnet with a black ribbon. Some of the landscape has been il...