Cooking Drawings and Watercolor Paintings

French Impressionist watercolour on paper view of a colourful tablescape still life by Henri Clamen. The painting is not signed but was acquired form the atelier of the artist with o...

Eve Nethercott, American (1925 - 2015) - Still Life with Teapot (P6.43), Year: 1947, Medium: Watercolor on Paper, Size: 16 x 12 in. (40.64 x 30.48 cm), Description: Arranged ...

Glenny created beautiful miniature watercolors, mostly still life. This image of a bronze teapot with red onions is a unique work of art. Glenora Rich...

Illustration of a shaggy black and white dog taking a bath Original cover for The Saturday Evening Post, May 11, 1946 The Post editors described: "Artist Albe...

"Cafe au Lait" is a still life watercolor painting featuring hues of grey, brown and yellow. Kathryn Keller is inspired by the works of George Inness, Edward Hopper, Giorgio Morandi & Alexander Drysdale. Kathryn Keller is a painter based in New Orleans and Alexandria, Louisiana. She received a BA in Fine Art and English from the University of the South...

Cherry Dancer Marcel Vertes French, 1895-1961 Beautiful girl juggling cherries Work is round but is shown in a square frame and some of the artworks edge is exposed Description: ...

A sheet of woven boasts equally compelling watercolors on both sides. Both paintings' subjects focus on ceramic ware and are executed with beaming and vivid palettes. Unsigned. On w...

Tess Michalik Seafoam Honey, 2022 oil on canvas 20 in. tondo (mic038AP)

Charming Floral Bouquet oil on artist paper, stuck on black paper painting: 12.75 x 10 inches provenance: private collection condition: very good and sound condition This delightfu...

This pastel is unframed

This watercolor painting depicts a bird perched on a metal teapot with a handle and spout. The teapot’s surface reflects details of its surroundings. The artwork combines a natural a...

Janet Skea (born 1947) Still life of strawberries Signed Watercolour 10.75 x 12 inches 19 x 20 inches with frame An incredibly highly detailed still life of a bowl of sumptuous stra...

[ANON.] Collection of Watercolour Designs for Silverware. South Germany, [Late 19th century]. A series of 9 watercolours, each framed and glazed, ...

Original watercolor on archival paper by Rosalind Oesterle. Circa 1970. Signed lower left by the artist. Oval format. Condition is excellent. Profe...

Sally-Ann Johns’ striking work often depicts everyday birds and animals, sometimes portraits, displayed in a unique and exciting way. Set into a gold lined box, they conjure images o...

Sally-Ann Johns Love Birds Original Animal Drawing Oil Pastel on Dutch Metal Framed Size: H 31cm x W 31cm x D 10cm Sold Framed in a Deep White Circular Frame Please note that in situ...

mixed media on paper image size: 17 X 25 framed size: 28 X 34 Provenance- Originally purchased from the Candy Store. It is from the Cherie and Ron Petersen collection and exhibited in 1989 in an exhibition "Collectors Choice, Drawings Paintings and Prints from the collection of Cherie and Ron Petersen". Bio- Born in Benicia, California in 1930, Robert Arneson was encouraged by his father to draw. He became a proficient draftsman early in life and drew cartoons for a local newspaper as a teenager. After Arneson studied art education at the California College of Arts and Crafts in Oakland he taught in a local high school, where he became interested in ceramics. He went on to receive an MFA from Mills College in 1958. Arneson became head of the ceramics department at the University of California at Davis in 1962 and became a full professor of art in 1973. Arneson was greatly influenced by the expressionist work of fellow Californian Peter Voulkos, who had studied Pablo Picasso’s works...

This is a pastel painting done on toned archival paper. The title is taken from an old food network show. The artists sardonic humor is well illustrated in this work. A truly one of ...

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...

22.5" x 30" Unframed Original - Pastel Encaustic Hand Signed by Elaine Clarfield-Gitalis 2002

Original pastel drawing signed by the artist in the lower right corner. Art: 8.37" x 8" Frame: 15.37" x 14" Written in the lower margin "For DJB" the owner of the David Barnett Gallery...

Sz: 9 3/4"H x 10 1/8"W Acoma pottery dates back more than 1,000 years. Dense local clay, dug up at a nearby site, is essential to Acoma pottery. The clay is dried and strengthened b...

"Garden Entrance" is a watercolor painting featuring subtle hues of green, blue and yellow. This work is framed measuring 15.5 by 14 inches. McLean Jenkins is inspired by the work of JMW Turner, Richard Diebenkorn and Louis Khan. McLean Jenkins is a practicing architect and his work derives from and celebrates the classical forms of his trade. Working in graphite, ink and watercolor, McLean employs a gestural approach that frees his hand to explore a subject’s essence. His compositions rely on the quick, decisive sketch and are then given over to the whims and splashes of watercolor. Spontaneity, movement and spirit are all emphasized and his drawings collectively form their own narrative of his passion for architecture. The city of Venice has captured McLean’s imagination since his first trip there as a 12 year old boy. Over the years a kind of courtship with the city has evolved, and its impact has motivated and sustained his development as both architect and artist. His work depicting the city has been recognized within the architectural profession by the Georgia Trust for Historic Preservation in its award to McLean of the J. Neel Reid...

Sz: 10 1/4"H x 10"W Acoma pottery dates back more than 1,000 years. Dense local clay, dug up at a nearby site, is essential to Acoma pottery. The clay is dried and strengthened by t...

pastel on toned sanded paper signed and dated on bottom left . part of the artist's restless still life series

Cherry Dancer Marcel Vertes French, 1895-1961 Beautiful girl juggling cherries is a beautiful and charming idea that is deftly rendered in a quick and loose style. Work is round De...

artwork dimensions (unframed): 15h x 20w inches LAURA TANNER GRAHAM’s drawings and installations are often discussed as part of the Southern Gothic literary tradition, sharing similar themes with authors such as Flannery O’Connor and Eudora Welty. As a Georgia native, Graham’s work seeks to understand the ways in which pattern and printed textiles are informed by social and political movements. Her narratives are tightly bound to antebellum traditions while balancing the changing ideals of the new generation of southern society. Graham received her MFA from the University of Illinois at Urbana-Champaign and a BFA from Florida State University. She has exhibited nationally in both group and solo exhibitions including the Weatherspoon Art Museum, the Ogden Museum of Southern Art, and the Athens Institute of Contemporary Art. She has also been a visiting artist at Tulane University and Valdosta State University. In 2016, Graham was awarded a fellowship and residency at the Ucross Foundation and the Vermont Studio Center. Graham is currently living and making work in Tucson, AZ. STATEMENT Firmly grounded in America’s expansive colonial history, my work interrogates how Southern culture has been idealized as “quintessential America” and the bedrock of traditional American values. Using my familiarity and position within Southern culture, I have created a new visual literacy to demonstrate how America’s nostalgia for tradition has been manipulated in an effort to isolate and disenfranchise. My drawings act as a visual archive of research that examines the consequences of American colonialism and addresses the sense of white fragility that continues to pervade Western culture. In the midst of widespread anxiety over the collective American identity, there has been a revival of many of the country’s unresolved historical battles, including contentious race relations, sexism, nativism, and an ever-growing wage gap. I employ the Americana aesthetic of the old South to parallel historical and contemporary acts of resistance to racial, economic, and gender diversity. Borrowing directly from the decorative arts, the meticulously hand-cut mylar and equally intricate drawing capitalizes on America’s propensity for nostalgia to lure the viewer into confronting injustices through the detached lens of that which has already happened. Through a combination of appropriated and invented imagery, my work contextually constructs contemporary accounts of systemic marginalization, executed under the guise of leisure, embellishment and luxury. The dense visual language invites investigation into the textured surfaces and leads the viewer to reflect on the social textures of contemporary culture while questioning their own complicity in current social constructs. Sourcing from period- specific textiles, turn-of-the-century advertisements, campaign posters, and found family photographs, the collaged images create a singular narrative composition that document the cyclical and systemic nature of marginalization in America. The methodology with which the drawings are constructed echoes historical layers of rules, regulations and hierarchies that are stitched into dominant white American myths. The resulting drawings are indexical in nature, recording the parallels between topics of current debate and 18th century Western expansionism. The disconnect between the delicate nature of the work and the unresolved cultural tensions that it reveals provides a visual record of the inconsistencies of American idealism. My current project explores the South as the embodiment of America’s pastoral traditions and values that are at the center of the “Make America Great Again” movement, a movement which has both exploited and is at odds with a social ideal that simultaneously proclaims itself to be “post- racial” and “post- gender” while identifying with a “pull-yourself-up-by-the-boot-straps” mentality. As one of the earliest colonized areas, the South is often portrayed as a region of racial and gender stability in the face of impending change. I am currently working with research institutions in the South to further understand how the architectural structure of the Southern plantation...

Sz: 10 3/8"H x 10 5/8"W Acoma pottery dates back more than 1,000 years. Dense local clay, dug up at a nearby site, is essential to Acoma pottery. The clay is dried and strengthened ...

Sz: 14 1/2"H x 23"W Alexander Warren Montel (1921-2002) Fashion illustrator for House of Lanvin Paris in the 1950s featured in Harper's Bazaar Yellow Circles